Smallville Episode X10 Ascension
by Backward Galaxy
Summary: The thrilling conclusion to the 10 episode fan fic arc... Clark struggles with the newfound knowledge that his "destiny" is to prevent an alien invasion of Earth.
1. Default Chapter

EXT. RESSURECTION CEMETARY – DAY  
  
Outside a church that looks like it was ripped out of a painting a small group of mourners, all dressed in black, gather around a coffin adorned by a hundred multi-colored flowers. A few trees and bushes lay scattered about the cemetery to add scenery and probably privacy.  
  
A priest stands in front of the coffin with his head bowed, leading the tearful group in prayer. Standing in front of him, surrounded by friends and family, are Martha and Clark Kent. He has his arm around her shoulder as she clutches to a soaked through handkerchief. Chloe and Gabe Sullivan sit to their right, along with Aunt Nell. Lana Lang is noticeably absent. To their right, Lex looks on stoically with his two "assistants", Noah and Mercy. On Martha and Clark's left is Pete Ross with his mother and father, as well as several other tearful townsfolk, and Lionel Luthor with an entourage of his own.  
  
As the priest concludes the prayer, Clark stares blankly ahead at nothing in particular. His face holds about as much expression as that of a lakeshore pebble.  
  
PRIEST  
  
... and we thank you, Lord, for the victory of your son, Jesus Christ, over death and we commit this man's spirit to you in his holy name... Amen.  
  
EVERYONE  
  
Amen.  
  
The service concludes and the small crowd slowly begins to disband. The priest steps up to Martha and Clark to give him his condolences, to which they both respond with a polite "thank you" and nod. Several other people also come and go, before discretely making their exits. Something of a line forms around them.  
  
Lex makes a move toward Clark, but stops himself upon seeing Lionel do the same. Chloe makes it to Martha and Clark first, though. She didn't bother wearing any makeup. Judging by the streaks of dried tears on her face, it was a wise choice. She hugs Martha first.  
  
CHLOE  
  
Mrs. Kent...  
  
They hug, each trying not to get their tears on the other.  
  
CHLOE  
  
If there's anything I can do... If there's anything you need...  
  
GABE SULLIVAN  
  
Anything at all, Martha...  
  
Gabe Sullivan maneuvers his wheelchair in close from behind his daughter.  
  
GABE SULLIVAN  
  
I mean it. After everything your family's done for us...  
  
Martha just nods. She bends down and lets Gabe hug her.  
  
Chloe turns to Clark. As he does his best impression of the Rock of Gibraltar, she bursts into tears and falls into him.  
  
CHLOE  
  
Clark, I'm so sorry...  
  
Clark doesn't say anything. He hugs her, remaining silent and inexpressive. He's practically catatonic.  
  
She lets him go.  
  
CHLOE  
  
Maybe I'll come by later...?  
  
He gives the shortest of nods in reply. Gabe offers Clark a quick nod and they leave. Lionel is next in line.  
  
Lex carefully positions himself where he can hear what Lionel says while at the same time being as far away from the man as possible. Pete, to his credit, immediately recognizes this and takes notice.  
  
LIONEL Martha, dear Martha...  
  
She lets him hug her, albeit reluctantly.  
  
LIONEL I am so terribly sorry for your loss. Jonathan Kent was a good man, a man of true honor, and exceptional character, both traits in men which have become somewhat sparse these days I'm afraid. He was a credit to all of humanity.  
  
MARTHA  
  
Thank you, Lionel.  
  
He hands her a small business card from his pocket.  
  
LIONEL  
  
Now, I know things are going to be tough. I put in a call to have some people come and help around the farm.  
  
Martha starts to object.  
  
MARTHA  
  
Oh... Lionel... That's really not...  
  
LIONEL  
  
Now, I insist. LuthorCorp will cover all the expenses. Use them for as long as you need. I know that running a farm is no small task and...  
  
Mercy notices a smile curl its way onto Lex's face. She can almost see the light bulb turn on over his head.  
  
LEX ::under breath:: No small task, indeed.  
  
LIONEL ...but any small amount of burden I can take off your shoulders, I'd like to help.  
  
She doesn't have any fight in her. She starts to nod in acceptance when Clark yanks the card out of her hand and gives it back to Lionel.  
  
CLARK  
  
Thank you, Mr. Luthor, but that won't be necessary.  
  
Clark's rather sudden refusal catches Lionel by surprise.  
  
LIONEL Well, of course, I understand. I commend your strength in this time of duress, but perhaps you should...  
  
He starts to hand the card back to him, but Clark pushes it away.  
  
CLARK  
  
It's not necessary. Thank you anyway.  
  
Lionel smiles and nods respectfully. He gets the hint and walks off in Lex's direction, hoping to get his son's attention. Lex pays him about as much attention as he does a nearby bush. Lionel seems genuinely hurt, but continues walking.  
  
Lex is next.  
  
LEX  
  
Mrs. Kent...  
  
He steps up to Martha and hugs her. Clark eyes him carefully, the memory of the events from the lab still fresh in his mind, though not necessarily suspiciously.  
  
LEX  
  
Clark...  
  
Lex hugs Clark and the two of them share an odd encounter. They each seem to have to put a little too much effort into the embrace.  
  
LEX  
  
If there's anything I can do, I don't want either of you to hesitate.  
  
Martha and Clark both nod in appreciation.  
  
LEX  
  
You know, when I was a child I was taught that there were two kinds of men in this world; men who have money and power, and men who don't. As I grew older, and started learning life's lessons on my own, it occurred to me that maybe that wasn't the case. Wealth, prestige, power, these are just things. They don't make the man.  
  
Lex swallows, taking a quick peak up at the sun overhead before continuing.  
  
LEX  
  
When you get to be in my position, you begin to realize that the difference in men is as ambiguous as the line between good and evil. Most men end up getting caught in the middle, in that oh so opportune gray area. Then, there are those in this world who are so pure, so moral, so virtuous, that you simply can't speak of them in the same vane as other men. These are men of a different fabric, of a different cut than the rest of the world. There is no gray to them, there are no... shades. They are above all others, supermen if you will. I consider myself privileged to have had the honor of knowing Jonathan Kent, for he was one of these men.  
  
Clark says nothing, but his hollow expression is betrayed by a single tear that escapes down his cheek. He wipes it away and simply nods to Lex, thankfully. Lex heads off, Mercy and Noah in tow.  
  
From behind a far off tree, as Mr. and Mrs Ross and Aunt Nell give their regards to Martha and Clark, Lana Lang cries to herself. She sits behind the tree, curled up into a ball, and buries her head between her knees.  
  
Aunt Nell and Mr. and Mrs. Ross move off and Pete pays his respects. He hugs Martha.  
  
PETE  
  
I'm sorry, Mrs. Kent. I sure am gonna miss the big guy. I always kind of considered him like a second father to me, ya know?  
  
MARTHA  
  
Oh, Pete...  
  
She wipes away some tears with her handkerchief, trying to stay composed.  
  
MARTHA  
  
... He would have been truly touched to hear you say that.  
  
PETE  
  
Yeah.  
  
Pete hugs Clark.  
  
PETE  
  
Hey, man...  
  
Martha steps toward the coffin. Swallowing the knot in her throat, she runs her hands gently over the top of some roses adorning the top of the coffin, saying nothing. Clark and Pete silently observe her from behind. She mouths the words, "I Love You" and goes back to her handkerchief, sobbing.  
  
CLARK  
  
Pete, I need to ask you a favor.  
  
PETE  
  
Anything... Just name it.  
  
CLARK  
  
I need you to take my mother home and stay with her.  
  
PETE ::confused:: You're not coming back to the house?  
  
One look back at Clark gives him his answer.  
  
PETE  
  
What are you going to do?  
  
CLARK  
  
It's my fault, Pete. If it wasn't for me, he would be alive right now.  
  
PETE  
  
Clark, you can't blame yourself for...  
  
CLARK  
  
All these powers I have... everything I can do... and I couldn't save him.  
  
Clark pauses, then, restarts.  
  
CLARK  
  
It was because of me. He wanted to hurt me. That's what he set out to do, and that's exactly what he did.  
  
Pete steps in front of Clark, looking his friend in the eye, clearly concerned.  
  
PETE  
  
Clark... What are you going to do?  
  
After a slight pause, Clark looks up at Pete with ice in his eyes.  
  
CLARK I'm going to hurt him back. 


	2. Ascension Part 2

EXT. LUTHORCORP PRIVATE AIRLINE – NIGHT  
  
On the outskirts of Metropolis International Airport is the LuthorCorp Private Airline. A converted military base, it is made up of four large hangars all in a row, each one slightly smaller than the one to its immediate right. Behind them stands a well-lit tower, twice the size of the tallest hangar. The Metropolis city skyline serves as the backdrop, a slight fog very near the ground making it appear as if the buildings themselves were hovering in mid-air. A security fence, with barbed wire wrapped around the top rungs, surrounds the airline.  
  
Clark Kent stands strong just outside the perimeter of the fence, staring intently at the hangars within. Adorning all dark green and black camouflage hunting gear, his face is painted black and his hair is slicked straight back. At this time of night, if not for the well lit runways, it would be almost impossible to see him if you weren't looking for him.  
  
Taking a breath, Clark clenches his jaw and raises his hands up, clutching several rungs in the fence. Instead of simply climbing over, however, he turns at the hip and yanks an entire section out of the ground. He effortlessly hurls it to the side and starts walking toward the hangars.  
  
Picking up the pace, he super speeds passed the hangars to the base of the tower. Scanning it briefly with his X-Ray vision, he sees two people inside. He opens the door and enters the tower.  
  
INT. LUTHORCORP PRIVATE AIRLINE – TOWER CONTROL ROOM  
  
Inside the LuthorCorp Private Airline Tower, two overworked LuthorCorp employees, Dumont and Kraznick, enjoy Starbucks coffee and some donuts.  
  
DUMONT You know, Z, the graveyard shift ain't that bad when you really think about it. I mean, sure, there's not always a lot to do, but at least the pay's pretty good.  
  
Kraznick laughs before spilling what's left of his coffee all over his shirt as the door to the control room explodes off its hinges. Clark stares vacantly at the two men from the doorway.  
  
DUMONT Holy...!  
  
Before they even have time to get up out of their chairs, Clark zig-zags his way between the various computer consoles and radar screens, scooping them up onto his shoulders like a couple sacks of potatoes. Amidst their protests, he hops up onto a radar display and leaps out the glass window overlooking the hangars, shattering it in the process.  
  
EXT. LUTHORCORP PRIVATE AIRLINE – NIGHT  
  
Cracks form in the pavement around his feet as Clark lands near the base of the tower, all at once dropping the men on their backs. Turning over, they each look up at him and he down at them.  
  
CLARK  
  
Run away.  
  
Dumont and Kraznick waste little time getting to their feet, making a mad dash in the opposite direction.  
  
DUMONT  
  
The pay ain't 'that' good!  
  
Satisfied, Clark turns around and looks up at the tower. Surveying it carefully, he bends down. Cupping his hands, he drives his fingers into the stone base and begins to lift, tearing the tower clear out of the ground.  
  
The massive structure groans into the wind as it begins to tip over. Sparks fly as the lights in the tower flicker out and it careens toward one of the middle two hangars. As the tower smashes through the hangar, a fireball of hideous proportions explodes in all directions, igniting the adjacent two hangars. Just for good measure, Clark uses his heat vision to set the final hangar ablaze as well.  
  
An alarm sounds...  
  
Clark walks between two of the burning hangars as LuthorCorp employees come pouring out of the hangar doors, running for their very lives. Giving them a brief glance as they flee, he then turns his attention downward, using his X-Ray vision to spy for the extent of the underground facility. Through the paved runway, he can see an entire assembly line of machines laid out all in a row. Several workers can also be seen scurrying toward emergency lifts from the underground factory floor.  
  
Lifting up his closed fists up over his head, Clark prepares to slam them down on the ground.  
  
INT. LUTHORCORP SECRET UNDERGROUND FACILITY  
  
Two security guards lead a cavalcade of workers in an evacuation of the facility when.  
  
SECURITY GUARD I This way! Come on! Move!  
  
All at once, an explosion from above sends the guards hurling themselves out of the way as chunks of rock and cement, among other things, comes pouring down from the ceiling. Amidst the falling boulders is Clark, and once again the ground breaks as he hits the factory floor.  
  
Coughing up bits of dust, the guards are quick to their feet, drawing their side arms on Clark.  
  
SECURITY GUARD II Freeze!  
  
SECURITY GUARD I Don't move!  
  
Clark turns around to face them, standing firm.  
  
CLARK ::calmly:: Get out.  
  
SECURITY GUARD I Put your hands above your head, now!  
  
Clark takes a single step toward them before the skittish pair opens fire. Moving faster than the human eye can see, Clark catches their bullets in his hands as effortlessly as if they had taken them from their guns and simply tossed them over to him.  
  
Click... Click... They empty their cartridges on him.  
  
The two guards watch him in awed silence as Clark puts his hands together, squeezes them, and drops the wad of bullets to the ground in front of him. Their weapons still pointed at him, he uses his heat vision on the guns, forcing the guards to drop them or burn their hands against the red hot metal.  
  
CLARK  
  
::calmly:: Now, get out.  
  
Unlike before, the guards are more than happy to oblige him, darting for the nearest exit lift.  
  
Clark now turns his attention on the machine assembly line. Not even bothering to check what in fact is being made in the factory, he instead looks for the most efficient means of destroying them. Walking all the way back to the far end of the factory floor, he takes a deep breath, purses his lips together, and exhales a wintry gust of sub-zero air. It only takes him a few short seconds to freeze the entire line of machines.  
  
Nodding, he lifts his right fist above his head and slams it down on the ground. A thunderous boom rings out, sending a literal shockwave through the entire factory floor. The frozen machines, brittle from the cold, are shaken to pieces and crumble into useless piles of rubble.  
  
Taking a moment to survey the damage, Clark steps over to one of the final machines in the assembly line where he finds what's left of what appears to be a small jet engine of some kind, much too small for a plane. Holding the frozen part in his hands, he uses his X-Ray vision to survey the rest of the factory floor when something peculiar about a near wall catches his attention. There's a room behind the wall, but no apparent means of entering it.  
  
Clenching his fists, Clark shatters the small frozen engine in his hands and starts walking toward the wall.  
  
This dimly lit room is surrounded on all sides by a solid wall. There are no doors, no windows, no clear way of any kind to get in or out. The only illumination comes from a single computer, and its massive viewing screen, that takes up most of the room.  
  
Stone and brick explode inward as Clark punches his way through the wall and into the room, making his own entrance. Carefully, he steps inside and over the rubble. It is only a split second before he turns his attention to the computer and its view screen. His eyes widen and his jaw drops slightly as he looks up at the image on the screen.  
  
The screen shows a map of the continental United States with several red lights, presumably representing cities. There are at least thirty such lights, each with a name next to them.  
  
CLARK ::reading:: Metropolis, Gotham, New York City, Chicago, Coast...  
  
No longer calm, a streak of furious rage boils inside of him and he takes his frustration out on the computer in front of him, tearing it apart like it was made of tissue paper. Storming back through the hole he created in the wall, he lets out a scream, slamming his fist through a steel support beam.  
  
EXT. METROPOLIS INTERNATIONAL AIRPORT – NIGHT  
  
The view from the Metropolis International Airport is spectacular as the entire LuthorCorp Private Airline sinks into the ground, a mighty blaze of fire all that's left in its wake.  
  
As Clark observes the scene from afar, he throws his fists into the air and shouts out the name of his pain...  
  
CLARK  
  
Darkseid! 


	3. Ascension Part 3

INT. LEX'S MANSION – LEX'S OFFICE  
  
Lex Luthor leans back in his desk chair, the laptop on his desk folded closed with a small glass globe sitting atop it in a metal stand resembling an animal claw. A cell phone in one hand, a glass of brandy in the other, Lex smiles as he listens to the other end of the phone.  
  
LEX That's right, everything's cleared. I've made all the necessary arrangements.  
  
A knock at the door...  
  
Mercy Graves lets herself in and walks over to the desk carrying a small metal case in her hand. She waits patiently for him to get off the phone.  
  
LEX  
  
Have your lawyers look them over one more time, or a hundred more times if you wish. All that's left is for you to sign on the dotted line and the deal will be finalized... Yes... And a great pleasure it was doing business with you as well, Mr Wayne.  
  
He folds up the phone and places it on the desk.  
  
MERCY GRAVES  
  
A package just arrived for you, Mr. Luthor.  
  
He takes the package from her.  
  
LEX  
  
Thank you, Mercy.  
  
He opens the case to reveal a lavishly ornate gold ring inside with a green stone. It could be an emerald, but not likely. Etched into each side is the image of a gargoyle, wings fully spread, each with their hands reaching up and touching the stone. Admiring it, Lex takes the ring out of the case and reads the short inscription delicately engraved on the inside of the ring.  
  
LEX  
  
Vae victis!  
  
MERCY GRAVES  
  
Woe to the conquered.  
  
LEX  
  
I see you know your Latin.  
  
MERCY GRAVES  
  
I know my bravado.  
  
He smiles and places the ring on his left ring finger. He shows it to Mercy.  
  
LEX  
  
What do you think?  
  
MERCY GRAVES Not my aesthetic.  
  
LEX  
  
Oh, come now, Mercy...  
  
Standing up, he smiles at her and walks around the desk, bringing his glass with him.  
  
LEX  
  
Surely, you can appreciate the sheer, unadulterated, beauty of such a magnificent specimen.  
  
He moves passed her as closely as he can, whispering in her ear as he walks by.  
  
LEX  
  
It matches with your eyes.  
  
He walks over to the drinks cart to refill his glass.  
  
MERCY GRAVES  
  
My eyes.  
  
He shrugs.  
  
MERCY GRAVES  
  
Like a handbag bought to match a pair of shoes. Which one am I?  
  
He smiles at her from inside the glass as he downs his brandy in a single swallow.  
  
LEX  
  
Have you heard anything from Noah?  
  
MERCY GRAVES  
  
He brought the papers over this morning. The funds should be transferred by this afternoon. He doesn't anticipate a problem.  
  
LEX  
  
Good... very good.  
  
Lex walks back to his desk.  
  
LEX  
  
Well, I think we've kept the good doctor waiting long enough. Why don't you send him in?  
  
She nods and turns toward the door.  
  
LEX  
  
And wait outside, will you? See that we're not disturbed.  
  
MERCY GRAVES  
  
Yes, Mr. Luthor.  
  
Lex watches Mercy walk out of the office before removing the globe from atop his laptop. Sitting down behind the desk, he opens it up and punches in a few commands. A window pops up with a real-time view of several rooms in the mansion, including the office. Clicking a few more keys in, the screen goes blank and the tiny red light on the video camera over his shoulder flickers out.  
  
Mercy returns to the door with Victor Fries at her side.  
  
MERCY GRAVES  
  
Doctor Victor Fries to see you, sir.  
  
LEX  
  
::smiles:: Ah yes, Doctor Fries, please come in.  
  
Lex stands up behind the desk as Victor enters the office. Mercy closes the door behind him.  
  
VICTOR FRIES  
  
Mr. Luthor, I must speak with you.  
  
Lex steps around his desk, his hand outstretched as he walks over to greet the doctor.  
  
LEX  
  
Yes, what can I do for you? On the phone you said it was urgent.  
  
As Lex reaches out to shake Fries' hand, Victor reaches into his coat pocket and pulls out a small handgun. He points it at Lex's eye.  
  
VICTOR FRIES  
  
It is indeed... saboteur!  
  
Lex drops his hand to his side, staring blankly at the gun. Strangely, he doesn't appear altogether frightened by it. In fact, he appears more than a little annoyed.  
  
LEX  
  
You just can't hire good help these days.  
  
VICTOR FRIES  
  
You sabotaged my Chamber, you bastard. Now, because of you, my Nora will die. Her blood is on your hands!  
  
LEX  
  
I did no such thing.  
  
VICTOR FRIES  
  
Liar!  
  
With his free hand, Fries pulls a small computer chip out of his pocket and throws it at Lex.  
  
VICTOR FRIES  
  
I found the chip! It was never in the design specifications I gave you. You tampered with my machine!  
  
LEX  
  
When? How? I was never even near your blessed chamber; that is, until the day you attacked me.  
  
VICTOR FRIES  
  
It was your men who built the prototype. You were the only one who could have...  
  
Lex smiles and turns his back on Fries, walking back over to the drink cart. This only serves to infuriate Fries.  
  
VICTOR FRIES Don't you turn your back on me!  
  
Lex turns back around and shows Fries two empty glasses.  
  
LEX  
  
Drink?  
  
As Fries struggles with a sense of total confusion, Lex pours some brandy into the two glasses. He brings one over to Fries.  
  
LEX  
  
I find that a little brandy helps to take the edge off. It's helped me through more than a few stressful situations. You certainly seem stressed.  
  
Fries shakes his head and slaps the glass out of Lex's hand.  
  
VICTOR FRIES  
  
I think you are failing to grasp the gravity of your situation. I am going to kill you!  
  
Lex looks down at the rug with the spilled brandy on it. He takes a sip from his own glass.  
  
LEX  
  
Sixteenth century... what a waste. Dah well, it was my father's anyway. I'll get you another glass.  
  
VICTOR FRIES  
  
I don't want another glass.  
  
LEX  
  
Then, what is it that you want, Doctor? If you're here to kill me then do it already, but if you're just going to stand there spitting puerile accusations at me you might as well just stop wasting your time and get the hell out of my house. I'm a busy man and I don't have time to listen to this.  
  
Fries stands in front of Lex in complete shock. It takes him several seconds to break out of it, long enough for Lex to go back to his desk and sit down.  
  
VICTOR FRIES  
  
This is not at all how I imagined this.  
  
LEX  
  
Imagined what?  
  
VICTOR FRIES  
  
My first hostage situation.  
  
LEX  
  
I hate to break it to you, Doctor, but this is your second hostage situation.  
  
VICTOR FRIES  
  
Oh, that doesn't count.  
  
Lex rubs his chest with his hand.  
  
LEX  
  
Speak for yourself. It still hurts where you stabbed me.  
  
Fries lowers the gun and walks over to the desk. He sits down opposite Lex.  
  
VICTOR FRIES  
  
You didn't sabotage my chamber, did you?  
  
LEX  
  
Of course I didn't. Up until the time you attacked me, I thought that machine was meant for me, remember? Why would I want to sabotage it? It was going to save my life.  
  
VICTOR FRIES  
  
But who else could have done it?  
  
Lex puts his glass down and pulls a folder out of his desk drawer.  
  
LEX  
  
I think I may be able to provide you with an answer to that question.  
  
Lex tosses the folder to Fries, who picks it up and opens it. Inside is a picture and bio of Doctor Crawford.  
  
VICTOR FRIES  
  
Doctor Crawford?  
  
LEX  
  
He was the one who originally referred me to you. He was the one who suggested I bring you in from Gotham General. He claimed that your theories on forced remission might be able to help in determining a way to slow the progress of my disease.  
  
VICTOR FRIES  
  
Crawford and I went to Medical School together in Central City.  
  
LEX  
  
Where you graduated with the highest of honors, valedictorian of your class, a tenth of a point higher than the salutatorian, one Michael T. Crawford.  
  
VICTOR FRIES  
  
Are you saying that he sabotaged my work, put my wife's life at risk, because of some petty school vendetta.  
  
LEX  
  
No, but it does make for an added twist to the equation. In fact, I think his motivations were a little more base than that. When I originally took over the Smallville plant, in my attempt to build up LexCorp as an entirely separate entity from my father's LuthorCorp, I took it upon myself to fire most of the staff that was left over from when my father was running things.  
  
VICTOR FRIES  
  
You didn't want any spies in your nest.  
  
LEX  
  
::nods:: It was a liability issue. It seems that I missed one, however. After graduating, Michael Crawford briefly interned at Metropolis General as a research and development man in their cardiology wing. As you may or may not be aware, my mother suffered from a heart condition... one that eventually claimed her life. Doctor Crawford was one of the men who worked on her case during her stay.  
  
Fries catches on.  
  
VICTOR FRIES  
  
Your father?  
  
LEX  
  
My father hired him to work as a consultant in one of his laboratories in Metropolis. He worked there for four years before opening up his own practice. My father funded the lease on his building.  
  
VICTOR FRIES  
  
But why would Lionel Luthor want to sabotage my chamber? To kill you? He knew from the very beginning you would never step foot inside. It was never intended for you.  
  
LEX You have to remember something about my father. He is always first and foremost a business man. The world, to him, is just one big game centered about the accumulation of money and power. These are the only things in life that are important to him and he'll do anything to get them. Now, you are a noble man, sir, I have come to know this well from speaking with you. Your only goal was to find a way to help save your wife's life, but can you tell me that it never crossed your mind the implications of what a fully functioning and operational stasis chamber might mean?  
  
VICTOR FRIES  
  
It would be a great breakthrough in medical science.  
  
LEX  
  
It would also be a very profitable one.  
  
VICTOR FRIES  
  
::appalled:: He did it for money?  
  
LEX  
  
Gotham General had threatened to cut your funding. The well was beginning to run dry.  
  
VICTOR FRIES  
  
They did not believe in my theories. They believed my science was corrupted by my desire to see it succeed, for my Nora's sake.  
  
LEX  
  
I offered you a second chance and my father took advantage of two desperate men. Thanks to Crawford, he knew your theories would work, but your career was already on the downslide. If you didn't see results, and soon, you would lose your funding all together. So, he had Crawford sabotage the chamber. When it failed, your research and all the hard work that you put into it would have been for nothing and you would be quarantined from the medical community for the rest of your life. Doctor Crawford could then pick up where you left off and introduce his stasis chamber to the world with you safely out of the picture.  
  
Fries squirms in the chair as if on fire.  
  
VICTOR FRIES  
  
My Nora is made to suffer because of your father's greed! He is a monster!  
  
LEX  
  
You'll get no argument from me but, as luck would have it, fate has afforded us with an opportunity to strike back. I only need your help to...  
  
Fries laughs, which catches Lex off guard.  
  
VICTOR FRIES  
  
Revenge? You think I seek revenge?  
  
LEX  
  
That's why you came here, isn't it?  
  
Fries looks at the gun, surprised to find it still in his hand. He drops it on the ground, disgusted with himself.  
  
VICTOR FRIES  
  
I don't know why I came here. I should be with my wife, by her side. That is where my place is now until... until...  
  
He weeps in the chair.  
  
LEX  
  
Until nothing. She doesn't have to die.  
  
VICTOR FRIES  
  
I have done all that I can for her. I am afraid it is only a matter of time, now.  
  
LEX  
  
What if I told you I could help you freeze time for her?  
  
VICTOR FRIES  
  
Freeze time? How? The chamber is completely destroyed, totally unsalvageable, and it would take too long to synthesize more of the Static Life molecule.  
  
LEX  
  
What if I told you there is a second chamber... and that I've had my men working on synthesizing more of the molecule since the day you arrived?  
  
Fries lifts his gaze to Lex's eyes, scrutinizing them carefully.  
  
VICTOR FRIES  
  
What?  
  
LEX  
  
I am a Luthor, Doctor. As much as I hate to admit that fact, it is what...  
  
He bites his tongue and corrects himself.  
  
LEX  
  
It is 'who' I am. Luthors don't leave things to chance and they never, ever, put all their money on one horse. Remember, up until not long ago, I thought that chamber was meant for me.  
  
VICTOR FRIES  
  
You would do this? You would help me save my wife?  
  
LEX  
  
The sins of the father, Doctor, weigh heavily on the son. I will help you, if you help me.  
  
Victor Fries considers his options, but it doesn't take him long.  
  
VICTOR FRIES  
  
What do you want me to do?  
  
LEX  
  
You and I both know what we saw back in that lab, a creature of mythic proportions, but it disappeared without a trace. I believe my father knows more about it than he's letting on. There are just too many mysteries surrounding what happened, and I think my father is the one with the answers.  
  
VICTOR FRIES  
  
What can I do?  
  
LEX  
  
You once told me that the chamber itself is more or less a containment unit, that the real magic of the Static Life Chamber comes from the Static Life molecule itself.  
  
VICTOR FRIES  
  
That is essentially the case, however, it is slightly more complicated than...  
  
LEX  
  
Then, would I be correct in assuming that the Static Life material could, if certain necessary precautions were taken, be utilized in a more... portable fashion?  
  
VICTOR FRIES  
  
Forgive me, I am not certain what you are referring too.  
  
LEX  
  
What would happen if the Static Life molecule were introduced to an environment outside of the chamber?  
  
VICTOR FRIES  
  
An uncontaminated sample would first appear to act as any normal liquid substance, freezing anything in its path, until certain chemical reactions with the oxygen in the air caused the surface molecules to harden.  
  
LEX  
  
Like ice?  
  
VICTOR FRIES  
  
It would appear that way, although it wouldn't actually be ice as you know it.  
  
LEX  
  
This is a slow process?  
  
VICTOR FRIES  
  
It is, depending on various factors including...  
  
LEX  
  
Is there any way to speed up the process, so that it's practically instantaneous?  
  
VICTOR FRIES  
  
One would simply have to vary the subjugation of momentum in the sub-atomic particles. To what end, though? Such a process would not be advantageous in any way. Once the molecules harden, there would be no way of excising the patient.  
  
Lex smiles and stands up from the desk. He walks over to the bookshelves on the wall to the left of the desk.  
  
LEX  
  
Come, Doctor, I want to show you something.  
  
Fries stands and walks over to the bookshelf. Lex removes a few books from one of the shelves, revealing a lever behind them. He switches the lever... Click!... An entire section of the bookcase rolls forward and to the side revealing the rifle, which Noah stole from Lionel's factory in Gotham City, hidden behind it. Fries looks at it, eyes wide.  
  
LEX  
  
You help me... and I'll help you.  
  
Lex pulls the rifle off its stand and places it in Fries' hand. Fries examines it carefully.  
  
VICTOR FRIES  
  
What is it?  
  
LEX  
  
It's your new toy, Doctor. 


	4. Ascension Part 4

EXT. KENT FARM – EARLY MORNING  
  
A rooster trumpets in the dawn of a new day as a gentle breeze blows some drifting hay across the front porch of the Kent home.  
  
In the distance, someone cries with the pain of a thousand damned souls. Almost instantaneously, Martha Kent and Pete Ross fly through the storm door and out onto the porch.  
  
MARTHA  
  
Clark? Clark, is that you?  
  
Pete follows Martha down the porch steps, but quickly stops in place as an entire uprooted tree rolls by the front of the house, crashing through a fence, before coming to a stop in front of the barn.  
  
Clark, still in his fatigues from the night before, but the paint mostly sweated from his face, chops through the horizontal bars of an entire section of the wooden fence in front of the Kent house. In a fit of rage, he violently tears one of the freed fence posts out of the ground with his bare hands. Swinging it like a baseball bat, he screams, teeing off on the second post, sending it bouncing along the ground, end over end, before embedding in a tree in the next door neighbors' front yard.  
  
Martha and Pete race out to meet Clark.  
  
MARTHA  
  
Clark Kent, where have you been? I've been worried sick.  
  
PETE  
  
We saw the news report about what happened at the airport.  
  
MARTHA  
  
You could have killed someone!  
  
Clark pauses briefly to catch his breath.  
  
CLARK  
  
But I didn't.  
  
Is that regret in his voice? Clark swings the post up over his head and down like a hammer on a third post, driving it all the way into the ground.  
  
MARTHA  
  
Clark!  
  
PETE  
  
What are you doing?!  
  
Pete tries to put his hand on Clark's shoulder to stop him, but Clark shrugs him off and pushes him away.  
  
CLARK  
  
I'm saving time.  
  
Clark swings at yet another post in the fence, this one obliterating on contact.  
  
MARTHA  
  
Clark, stop it! Stop it right now!  
  
CLARK  
  
Why? What's the difference? Darkseid's just going to burn it to the ground anyway! He's going to burn this entire town right to the ground! Who knows, maybe if I destroy it, he won't want to anymore!  
  
Clark bends down and breaks the post in his hand over his knee. Taking the two remaining halves, one in each hand, he slams them together, turning them to dust.  
  
CLARK  
  
It isn't enough for him to just attack me, he wants to hurt me. He wants to hurt everyone around me, take my home, take my entire life!  
  
Clark yanks another post out of the ground. He tosses it into the air, waiting for it to come back down before punching it in two.  
  
CLARK  
  
Well, let him have it! He can have it all! I never asked for this. I never asked to come here, to come to Earth. I never asked for any of it, but did anyone ever think of that? Did anyone ever bother to think of what I wanted? Did anyone ever once think about what kind of life I wanted to live? All these powers I have, all these... gifts... more like a curse!  
  
Clark looks at his hands, flexing then, before balling up his fists and closing them together, using them like two massive battering rams on one last post, exploding the frail piece of wood into a million tiny splinters.  
  
CLARK You want to know what a real gift is? You want to know what real powers are? How about the power to live a normal life? How about the ability to walk down the street without hunching forward because the weight of the world is on your shoulders? Super strength, speed, X-Ray vision; give me ignorance any day of the week!  
  
MARTHA  
  
Clark, please, calm down... talk to me.  
  
PETE  
  
You're starting to scare me, man.  
  
CLARK  
  
Good. You should be scared. It's about time everyone started getting a little scared, because who's gonna save you, Pete? Is it gonna be me? Of course, it's always me. Whenever something bad happens, someone's life is in danger because of the latest freak of the week turned lunatic, it's always Clark to the rescue. It's always Clark in the nick of time. He's everybody's favorite hero, but look out, look at what happened to his father. He couldn't save him. What makes him so sure he'll be able to save me?  
  
Clark storms passed Pete and Martha and starts walking toward the house.  
  
CLARK  
  
But don't worry, there's always fate. It's my destiny to save the world. I could walk right up to Darkseid and spit in his fat ugly face and there wouldn't be a thing he could do about it, because I'm supposed to win. Destiny is on my side. Ah, the safety and comfort of the pre-determined. It makes me feel so warm and fuzzy inside to know that my life, my entire life's purpose is to fight and win a war. Who the hell asked for that?!  
  
MARTHA Clark...  
  
Clark runs up the porch steps and inside the house.  
  
INT. KENT HOUSE – KITCHEN  
  
Martha and Pete follow Clark through the kitchen to the stairs leading to the second floor.  
  
CLARK  
  
Well, guess what happens in war, Mom? People die. Not that I should be surprised, this isn't exactly new information or anything.  
  
Clark heads upstairs and Martha and Pete follow him.  
  
INT. KENT HOUSE – MARTHA'S BEDROOM  
  
Clark nearly smashes the door clear off its hinges as he barrels into the room. He heads for the closet and pulls out two suitcases. Tossing them on the bed, he unzips one and makes a beeline for the dresser.  
  
MARTHA  
  
Clark, what are you doing?  
  
CLARK  
  
What does it look like I'm doing? I'm packing your things.  
  
He opens the top drawer to the dresser. Reaching in, he grabs a handful of clothes and brings it over to the first suitcase.  
  
CLARK  
  
I'm getting you out of here. I'm taking you someplace safe. I'm not letting him take you too.  
  
MARTHA  
  
Clark, you can't do that.  
  
CLARK  
  
Oh yes I can. Watch me. I know where Darkseid is. I know where he's gonna be, which means I also know where he 'isn't' going to be.  
  
He grabs another handful of clothes and moves on to the next drawer in the dresser.  
  
MARTHA  
  
Where?  
  
CLARK  
  
Out of the country.  
  
MARTHA Out of the country!?  
  
CLARK Darkseid is in every major city, coast to coast. You name it, he's there; New York, Gotham, Chicago, L.A., just to name a few. If I can get you out of the country, maybe he won't be able to find you.  
  
MARTHA  
  
Where will we go?  
  
CLARK  
  
As far away as it takes to keep you safe.  
  
MARTHA  
  
How far is that?!  
  
She shakes her head and starts taking her clothes out of the suitcase.  
  
MARTHA  
  
No, this is my home. Smallville is my home. I'm not leaving.  
  
He grabs the clothes back from her and puts them back into the suitcase.  
  
CLARK  
  
Yes, you are. Darkseid wants to hurt me. It's his mission in life. He wants to get at me and he'll use whatever means he can to do it. He came after Dad and that means he'll be coming after you next. He'll come after anyone and everyone I care about.  
  
PETE  
  
So, what are you going to do, evacuate the entire town?  
  
CLARK  
  
If I have too. I may be destined to be some kind of savior to humanity, but I'm only one man. I can't protect everyone all the time.  
  
MARTHA  
  
But you can't hide everyone either.  
  
PETE  
  
What happens when he comes looking for us and can't find us? What happens then? What's preventing him from going after somebody else? Don't you care about them? Don't you care about what happens to them?  
  
CLARK  
  
Don't you get it, Pete? I found a map. He has an army, an entire army, and he's getting ready to strike.  
  
MARTHA All the more reason to stay. Wherever we go, we're not going to be safe, because no one is. We're not going to be able to get away from Darkseid, he'll find us. We have to make our stand here if we're going to fight this.  
  
CLARK  
  
'We' aren't a part of this! I am! Me! I'm the reason he's here. He followed my ship. That's why he's here, because of me. That's why he came here and that's why Dad's dead. He never would have come to Earth if it wasn't for Jor-El sending me here.  
  
MARTHA  
  
You don't know that! From everything you've told me, he would have found us eventually.  
  
CLARK  
  
But maybe by then, Earth would have been better prepared. Earth would have stood a fighting chance.  
  
MARTHA  
  
We stand a fighting chance, now, because of you!  
  
CLARK No, that's not it! That's not why I'm here. You're not listening to me! You don't have a chance, I do! Jor-El sent me here to protect his son, to protect me not Earth, because of the powers I would have here!  
  
MARTHA  
  
That's right, the power to have a life! The power to live and grow up in a family that loves you!  
  
PETE  
  
The power to make friends who care about you and who will be there for you...  
  
MARTHA  
  
And the power to stand up and fight when someone wants to take that all away from you... because wherever you go, wherever you run too, there will always be someone who tries... and that's not destiny Clark Joseph Kent, that's life. Life is a challenge. Life is a fight! It's a fight against failure. It's a fight against being overwhelmed and wanting to give up. It's a fight against depression and everything in this world that hurts... and makes you just want to drop to your knees and cry... and hope that when you open your eyes, all the pain will just disappear. Well, that's not going to happen. It's not going to go away and it isn't fair. The difference is we have the power to fight back.  
  
CLARK But, you don't understand. He's everywhere... How can I fight that? I'm alone here. I can't fight a war by myself. I'm only one person.  
  
MARTHA  
  
But you're not alone! Yes, you're from another world, but this is your home. But what you have to remember is that it's my home too.  
  
PETE  
  
And mine!  
  
MARTHA  
  
And it's home to a lot of other people too... and you can bet that none us are going anywhere without a fight. You may be the last son of Krypton, but here you're one of billions and we're all in this together... and we will fight this war together.  
  
Clark hangs his head, letting his shoulders drop. He sits down on the bed, solemn and forlorn. Martha sits down next to him.  
  
CLARK I can just see it all so clearly. Darkseid was right. It doesn't matter who wins and who loses. So what if I can beat him? How many people is he going to hurt before it's over? How many is he going to kill because of me? So what if I win if so many people have to suffer because of it? What's it going to cost? How many lives?  
  
MARTHA  
  
But what is it going to cost if you don't fight him at all?  
  
CLARK He's going to hurt as many people as he needs too to get to me.  
  
MARTHA  
  
That's what evil does, Clark. It hurts people. You want to protect them. You want to protect everyone, but you can't... and you don't have too. But you do have to do what's right.  
  
CLARK Be the best man that I can be, huh?  
  
Clark remembers what his father told him on the porch the night he died.  
  
CLARK That's my job now.  
  
Clark closes his eyes, probably picturing his father's face. He opens his eyes.  
  
CLARK  
  
I have to stop it. I have to stop Darkseid... I just don't even know where to start.  
  
Martha leans in and hugs Clark.  
  
Meanwhile, something on top of one of the dressers catches Pete's eye, an old black and white photograph of a man in uniform. He walks over to it and reads the inscription on the golden frame. It reads: "Colonel John R. Kent". The date under the name reads "1943".  
  
PETE  
  
Well... you're going to war.  
  
Clark and Martha look up at Pete. He walks over to them and hands them the photograph.  
  
PETE  
  
You're gonna need a uniform, soldier.  
  
EXT. SMALLVILLE ROAD – DAY  
  
Martha drives with Clark in the front seat and Pete in the back. They come to a stoplight where a large group of runners, wearing spandex running outfits, cross over a crosswalk in front of them.  
  
The light turns green and Martha continues driving. Turning in the backseat, Pete watches the runners turn down another road from out of the rear window.  
  
Pete leans forward from the backseat and points to an upcoming turn in the road.  
  
PETE  
  
Turn here.  
  
MARTHA  
  
What?  
  
CLARK  
  
The entrance to the mall is two blocks down.  
  
PETE  
  
We're not gonna find what you're looking for at the mall, Clark, unless you were planning on fighting Darkseid in an Old Navy performance fleece pullover.  
  
EXT. ALL SEASONS SPORTING GOODS – DAY  
  
The sign outside the sporting goods store reads in large red letters, "All Seasons Sporting Goods: Your #1 Source for Sporting Goods Year Round".  
  
INT. ALL SEASONS SPORTING GOODS – SHOWROOM  
  
Clark, Martha, and Pete browse through the sporting goods store, basically the equivalent of a Mid-Western version of The Sports Authority, when they are approached by an eerily cheerful saleswoman.  
  
SALESWOMAN Good morning, and welcome to All Seasons Sporting Goods where we have your sporting goods needs for every season. How are ya? Can I help ya'll find anything, today?  
  
CLARK  
  
Um... Do you have any uniforms?  
  
SALESWOMAN Uniforms? Why, yes, of course we do, sir. Which team specifically were you looking for?  
  
CLARK  
  
::confused:: Team?  
  
SALESWOMAN  
  
Mm hmm...  
  
The saleswoman looks Clark up and down. He's wearing a blue t-shirt and dark denim jeans.  
  
SALESPERSON  
  
Judging by your affinity for blue, I'd say you're a Jayhawks fan. Well, today is your lucky day, sir . We're having a twenty-four hour blowout sale on all Kansas Jayhawks throwback jerseys and...  
  
CLARK  
  
No, that's not what I meant. I mean, do you have any...  
  
Pete interrupts.  
  
PETE  
  
Do you have a track and field section?  
  
SALESWOMAN Yes, sir, we most certainly do, right this way. If you'll just follow me...  
  
The saleswoman steps between Clark and Pete and starts walking toward the back of the store. Clark shoots Pete a confused expression.  
  
CLARK  
  
Track and field?  
  
PETE  
  
You said yourself Darkseid's in every major city in the country, right? Well, last I checked you can't fly and half a dozen coffees a week at the Talon don't exactly rack up the frequent flier miles. That means you're going to be doing a lot of running.  
  
The saleswoman escorts them to the track and field section. She motions in different directions as she points out the various sections.  
  
SALESWOMAN Training equipment, footwear, outerwear, and accessories... Were you looking for anything specific?  
  
PETE  
  
Nah, we're just browsing.  
  
SALESWOMAN  
  
Very good. If you need any help, just give a shout, k?  
  
She smiles brightly, tilting her head at an awkward angle. Pete forces himself to smile back.  
  
PETE  
  
K.  
  
She gives them two thumbs up.  
  
SALESWOMAN Awesome!  
  
She heads off back towards the front of the store.  
  
CLARK  
  
Someone's been slipping the Prozac into the Cheerios.  
  
PETE  
  
All right. You're going to want something that's form fitting, but not too tight. You want to be able to move around in it, but it can't be too bulky either.  
  
CLARK  
  
I thought we were here looking for a uniform, not a costume.  
  
MARTHA  
  
You weren't exactly drafted into United States army, Clark.  
  
PETE  
  
Besides, you don't want to look like everybody else. The fact of the matter is you're not like everybody else. You're going to want to stand out.  
  
Pete sifts through a rack of outerwear, removing a one piece jumpsuit. It's primarily purple, with pink stripes.  
  
PETE  
  
Ew... but not that much.  
  
Pete sifts through the rack and pulls out one that's all black.  
  
PETE  
  
What about this?  
  
CLARK ::shakes head:: Too dark. I'm not a serial killer.  
  
Pete continues sifting through the rack and stops at one that's yellow with black stripes leading from the neck, over the shoulders, and down the arms. The pants are also black.  
  
CLARK ::shakes head:: Too Star Trek...  
  
Pete continues sifting and stops at one that's all red with a white circle on the chest.  
  
PETE  
  
What about this one?  
  
CLARK ::shakes head:: Too flami...  
  
Clark looks over his shoulder to see his mother standing right behind him.  
  
CLARK Um...  
  
She raises her eyebrow, folding her arms across her chest.  
  
MARTHA  
  
Too what?  
  
Pete catches his meaning and moves on.  
  
PETE  
  
Okay, so red's not your color.  
  
CLARK  
  
No, I like red. It's just... not that much red.  
  
Just for good measure, Martha slaps him in the back of the head.  
  
CLARK  
  
Ow.  
  
PETE  
  
That hurt?  
  
CLARK  
  
Kryptonite fingers. All mothers have them.  
  
PETE  
  
All right, fine.  
  
Pete grabs about twenty running suits off the rack all at once and dumps them in Clark's arms.  
  
PETE  
  
The dressing room's over there. Try them on. Pick one that you like.  
  
CLARK  
  
Okay...  
  
He starts to turn towards the dressing room, but stops.  
  
CLARK  
  
I'm going to be wearing something over this, right?  
  
PETE  
  
Like what?  
  
CLARK  
  
I don't know, body armor?  
  
PETE  
  
What do 'you' need body armor for?  
  
CLARK  
  
I don't know, I want to look cool.  
  
PETE  
  
Clark, you're six foot three, two hundred and fifteen pounds, black hair, blue eyes, muscles out to here, and can lift a car up over your head. I hate to break it to you, but you're just not going to get any cooler than that.  
  
Clark shrugs and heads for the dressing room.  
  
MARTHA  
  
And remember, I can always do alterations, you know, if it's too tight in the crotch or something.  
  
CLARK  
  
::embarrassed:: Mom!  
  
MARTHA  
  
I'm just saying.  
  
Clark takes the outfits to the dressing room and starts trying them on.  
  
PETE  
  
It's going to need more. He can't just be running around trying to save the world in a jogging suit. He's going to need something that says more, "I'm a man you don't want to mess with", as opposed to just some Lord of the Dance reject run amuck.  
  
The two of them look around the showroom for inspiration. Something catches Martha's eye.  
  
MARTHA  
  
You know... Jonathan always used to say to me, there are only two things a man really needs in this world...  
  
Pete looks at her.  
  
MARTHA  
  
... a woman and a good pair of boots.  
  
Pete turns his attention to where Martha is looking. Above a section in the footwear department is a sign carved into the side of a tree trunk with an outdoorsy looking roughneck chopping down a tree. The sign reads: "Nothing Says Rugged Like a Pair of Timbers".  
  
INT. ALL SEASONS SPORTING GOODS – DRESSING ROOM  
  
Clark removes part of a black and silver striped running suit and throws it on the pile of suits on the bench in front of the mirror. He reaches for another to try on, a solid dark blue two piece, just in time to get hit in the head with four or five boxes of boots as they are tossed over the top of the dressing room door.  
  
CLARK  
  
Ow... Hey!  
  
PETE (voice) Try those on.  
  
INT. ALL SEASONS SPORTING GOODS – SHOWROOM  
  
Martha and Pete stare at Clark, scrutinizing his choice carefully. It's a plain dark blue two piece that looks like a one piece, but it is separated at the mid-section. It fits snugly against his body, showing off his impressive physique.  
  
CLARK Well, what do you think?  
  
PETE  
  
I would have gone with the black, personally.  
  
MARTHA  
  
You'll certainly stand out.  
  
PETE That much is certain... It's so monotone.  
  
CLARK Hey, I'm the one that's going to be wearing it and I like this one.  
  
PETE  
  
It's just so Tron.  
  
Clark looks insulted.  
  
CLARK Fine...  
  
He starts back towards the dressing room.  
  
CLARK  
  
... I feel stupid in this thing anyway.  
  
PETE  
  
What's wrong with it?  
  
Clark stops and looks back at Pete in shock that he would even ask such a question.  
  
CLARK  
  
It's spandex!  
  
PETE  
  
Hey, Warrior Angel wore spandex, the Gray Ghost, and don't forget Marvelous Man.  
  
CLARK I'd prefer too.  
  
MARTHA  
  
Who's Marvelous Man?  
  
PETE  
  
He's...  
  
CLARK  
  
Nevermind!  
  
PETE  
  
Besides, it's not spandex, it's Zyflex. Look, there's nothing wrong with it. It just needs some work, that's all... maybe a cape.  
  
CLARK  
  
A cape?  
  
MARTHA  
  
A cape?  
  
PETE  
  
No cape?  
  
Clark rolls his eyes.  
  
Clark starts walking back to the dressing room, trying to keep the pants from riding down as he does.  
  
CLARK  
  
::mumbles:: How about something to keep these pants up?  
  
PETE  
  
A belt!  
  
Clark turns back around.  
  
CLARK  
  
How am I going to put a belt around me, there aren't any belt loops.  
  
MARTHA  
  
I can fix that.  
  
Pete looks around hurriedly. He grabs the first thing he can find off the shelf. It's a pair of red jock shorts, complete with interior jock support and belt loops. It does, however, have conspicuously short legs, making it look a little more like underwear than actual shorts.  
  
PETE  
  
What about these?  
  
Martha takes them from Pete.  
  
MARTHA  
  
These are good. I can sew the two of them together at the hem line. Plus, it'll help to cover up your thing better. Those pants leave very little to the imagination.  
  
Clark looks down, then covers up with his hands.  
  
CLARK  
  
::embarrassed:: Mom, please, you're killing me!  
  
He runs back to the dressing room. Pete laughs a little under his breath.  
  
MARTHA  
  
What? They don't. He's still my little boy, you know. Well... maybe not so little anymore, but...  
  
From inside the dressing room...  
  
CLARK (voice) Mom!  
  
MARTHA  
  
Sorry. 


	5. Ascension Part 5

EXT. LEX'S MANSION – DAY  
  
From inside a LuthorCorp helicopter, Lionel Luthor stares down at the mansion. A long row of large moving trucks are parked out front, several burly looking men loading them each to their fullest capacities with various items and removed from inside the mansion estate.  
  
Lionel angrily pats the pilot on the shoulder, motioning toward a vacant spot on the side of the mansion where to land.  
  
LIONEL  
  
Down there!  
  
PILOT Yes, sir, Mr. Luthor!  
  
The pilot lands the helicopter.  
  
Mercy Graves runs out the back of the mansion with two security lackeys in tow, shielding her face from wafting foliage with her forearm. Before Lionel can even step foot out of the helicopter, she stops him.  
  
They converse over the noise of the helicopter.  
  
MERCY GRAVES  
  
I'm sorry, sir, but Mr. Luthor asked not to be disturbed.  
  
LIONEL  
  
Young lady, I am Mr. Luthor. More importantly, I am the Mr. Luthor whose name is on the deed to this estate. I have every right to be here and I would kindly ask that you move to the side, assuming I cared enough to permit you the privilege of consequence, which I don't, so instead I will simply tell you to get out of my way. I'm here to see my son.  
  
MERCY GRAVES  
  
Lex is very busy and left me with specific instructions not to admit anyone. I'm afraid he'd be most agitated if I were to let you through.  
  
Lionel goes to say something, but Mercy unexpectedly yields, stepping out of his way.  
  
MERCY GRAVES  
  
He's in his office.  
  
Lionel scowls at her and heads toward the mansion. She smirks at him behind his back.  
  
INT. LEX'S MANSION – HALLWAY  
  
Lionel tromps through the near barren halls of the mansion, stopping a pair of men moving a rather large mural from one of the side rooms.  
  
LIONEL  
  
Where exactly do you think you're taking that?  
  
One of the movers, an ethnic looking man, looks up at Lionel and tries to explain.  
  
MOVER We... sir... put truck.  
  
LIONEL  
  
My industrial little gamin, you do not simply load an Alton Tobey into the back of an eighteen wheeler. That mural is worth more than whatever third world country you emigrated from, undoubtedly illegally.  
  
MOVER  
  
We wrap. Bubble wrap, outside, pop pop, yes?  
  
Lionel cringes at the thought, shaking his head, furious at the mere thought of wasting any more of his time on the man.  
  
The movers adjust their grip and head for the door.  
  
MOVER  
  
Jerk, how about I load it up your...  
  
They head outside.  
  
INT. LEX'S MANSION – LEX'S OFFICE  
  
Lex converses with two movers over his completely empty desk. It is the lone remaining piece of furniture in the room. In fact, it's the only thing left in the room period. The bookshelves have been emptied, the carpets removed, and there are even faint dust patterns where once hung pieces of fine art.  
  
LEX Okay, then, I think that's pretty much everything. We're all set.  
  
Lionel explodes through the doors to the office.  
  
LIONEL  
  
Lex, we need to talk!  
  
Lex only briefly acknowledges Lionel before parting ways with the movers.  
  
LEX  
  
Here, here's a little something for you.  
  
Lex slips the man a tip with a casual handshake.  
  
LEX  
  
Buy yourself a coffee or something. There's a nice little place in town I highly recommend.  
  
The movers thank him, splitting the tip before lifting the desk and carrying it out of the office.  
  
Lionel steps right up into Lex's face, making sure to capture his son's utmost attention.  
  
LIONEL  
  
Would you care to explain just what it is you think you're doing?  
  
LEX  
  
Dad, what a pleasant surprise. I'm sorry, had I known you were coming I would have had them leave us with a few chairs.  
  
LIONEL I'm not here for idle tête-à-tête, Lex. I'm here for an explanation. Why have you sold your shares in LuthorCorp and what are these people doing to my home?  
  
LEX  
  
They're helping me.  
  
LIONEL  
  
Helping you? Helping you to do what?  
  
LEX  
  
To take back my life.  
  
LIONEL  
  
::confused:: Forgive me, son, but it appears to me that the only "taking" going on here is by these ruffian simpletons rampaging my house! Exactly where do they think they are taking everything?  
  
LEX  
  
To their new rightful owners I would imagine. I've sold it all.  
  
LIONEL  
  
I beg your pardon?  
  
LEX  
  
I've sold it all. I've sold everything; the statues, artwork, the furniture, everything, except the mansion itself of course. That does still belong to you, although, if you're interested, I managed to get an excellent quote from...  
  
LIONEL  
  
You sold everything? How could you do such a thing without consulting me first?  
  
LEX  
  
But I did. Don't you see? I'm freeing myself, opening my eyes to the world around me, and it's all thanks to you.  
  
LIONEL Thanks to me?  
  
LEX  
  
::nods:: Yes.  
  
Lex walks over to the stain glass window where multicolored light shines down on him.  
  
LEX  
  
I've been a pawn my entire life. I didn't even realize it until the other day when you showed me the truth, when you showed me just how little control I had over my life, over my destiny. I don't know, maybe it's impossible for you to understand, someone in your position. You have the world on a leash. You've mastered the game. You don't just control it, you command it... whereas I...  
  
Lex digresses to start again. He looks back at his father.  
  
LEX  
  
I've been blind. You tried to teach me that, but I wouldn't listen. I refused to listen because of some petty infantile enmity I'd built up in my head towards you. As a result, I placed my trust in the hands of the undeserving when I should have put it in the hands of family all along. I fell deeper into anger and hatred, spurning myself, not realizing that my agony was a direct result of my denying myself of what was so inherently mine; the Luthor stake.  
  
Lex walks up to his father, prideful and thankful. Reluctantly, he makes a move to hug his father, but stops when Lionel takes a step back.  
  
LEX  
  
You were not only a father to me. Fathers do their best to mold their sons into great men, but you did so much more. You not only tried to mold me, you stood up where no one else would, and set out to mold the world into a better place where I could live. Today, tomorrow, and for the rest of my life, I am proud to be a Luthor.  
  
Lex again moves to hug Lionel, but this time the elder Luthor graciously accepts. There's even a hint of a tear in his eye.  
  
LIONEL  
  
Son, you have no idea how much it means to me to hear you say that.  
  
LEX  
  
I love you... Dad.  
  
LIONEL  
  
I love you too, son.  
  
It takes a moment, but once they break from their embrace Lionel remembers he's still standing in an empty room.  
  
LIONEL  
  
But I still don't understand why you've decided to sell all your belongings, and your shares.  
  
LEX  
  
You built LuthorCorp from nothing. You were just a poor orphan before climbing your way up, before making your ascension to the very top of the corporate ladder. You took control of your life the same way I want to take control of my own. I needed to wipe the slate clean. I want to live on my own merit, not on your heels. That's why I sold everything; my belongings, my shares in LuthorCorp, even LexCorp.  
  
Lionel visibly turns gray.  
  
LIONEL You did what? You sold LexCorp?  
  
LEX  
  
::nods:: And all of its assets. What was LexCorp anyway if not what you gave me, a fledgling offshoot of LuthorCorp with a different name? I had to free myself of that. So, I did. Everything under the LexCorp banner now belongs to Wayne Enterprises, from the Smallville plant to the Tenshi building in Gotham City. I sold it all.  
  
LIONEL  
  
The Tenshi building?! Lex, tell me you're not serious?!  
  
LEX  
  
I realize Tenshi Aerospace was your gift to me, but I have to earn my place on my own. Besides, Tenshi was showing heavy fourth quarter losses. Wayne thought he was getting it for pennies on the dollar, but I'm afraid he bought himself right into debt. The fool was just a little too anxious to clear out his territory in Gotham City of competitors.  
  
LIONEL  
  
Lex, listen to me, this is very important. It's absolutely imperative that you call off the deal with Wayne. You can't sign that contract.  
  
LEX  
  
I already did.  
  
LIONEL  
  
Do you have any idea what you've done?!  
  
Lionel cringes as if in very real pain. He turns around and starts pacing, thinking on his feet.  
  
LIONEL  
  
No, we have to get it back. Wayne can't...  
  
LEX  
  
No, Dad, we don't. Don't you see? It doesn't matter anymore. All that matters now is that father and son are united, on the same front, with the fate of the world in the balance.  
  
Lionel looks up at Lex.  
  
LEX  
  
There is a war coming, remember? And I plan to fight it with you, but I have to fight it in my own way. That's why I've decided to join the Army.  
  
LIONEL  
  
Lex! Do you even hear yourself, hear what you're saying?! This is madness!  
  
LEX  
  
No, I know what you're going to say. Luthors should be commanding armies, not serving in them as one of the grunts, and I plan to. I plan to rise up through the ranks, as an officer. I will command leadership. I will command respect, but there's no time to lose. That's why I had to sell everything so quickly. I'm leaving in two days to begin basic training.  
  
Lionel thinks quickly, grabbing Lex by each arm.  
  
LIONEL  
  
You will do nothing of the sort. You will stay here, in this house, and wait for me to return. Do I make myself clear?  
  
Lionel releases him and heads for the door.  
  
LEX  
  
But, Dad, I'm finally...  
  
LIONEL  
  
Do not leave Smallville!  
  
Lionel storms out of the office, nearly knocking over Mercy in the process. She watches Lionel fly down the hall as Lex steps up next to her.  
  
MERCY GRAVES  
  
He seems...  
  
Lex smiles, rather suspiciously.  
  
LEX  
  
Displeased? Perturbed? Vexed?  
  
MERCY GRAVES ... irritated.  
  
LEX  
  
My dear, you have no idea. 


	6. Ascension Part 6

INT. KENT FARM – CLARK'S LOFT  
  
Clark sits at an old table in the loft, a pad and pencil in front of him and a bunch of crumpled up pages scattered on the ground about his chair. There's something written on the top of the pad, but it's crossed out. Still legible is the line, "I am not your enemy". Further down, the last three words can also be read, "truth, justice, and"...  
  
Clark leans back in the chair, his eyes wandering to several pictures along the back of the table. There's one of a young Clark and Pete covered in mud being sprayed by Jonathan Kent with a hose. Next to it is a Kent family picture of Clark and his parents, probably taken for a Christmas card judging by their matching red and green sweaters. A third photo shows Clark, Chloe, Pete and Lana in the Torch office sporting various contorted faces, their tongues sticking out and eyes crossed.  
  
Clark's attention, though, is drawn to one picture specifically, a framed photo of he and Chloe taken at the Spring Formal a couple of years prior. He takes the picture in his hand and admires it briefly. Opening the back plastic a bit, he pulls a second photo from behind it. It's a picture of Lana, a yearbook photo taken for school.  
  
PETE  
  
Yo, Clark...  
  
Pete thunders up the steps of the barn two at a time.  
  
PETE  
  
Your mom finally got that sewing machine runnin'. Man, that thing is ancient! Eve probably used that thing to sew her fig leaves together.  
  
Clark looks up, barely smiling at Pete's joke. Pete notices the picture in his hand and walks over.  
  
PETE  
  
Oh...  
  
Pete leans up against the table and takes the picture to look at it.  
  
PETE  
  
Worried about her, huh? Me too...  
  
CLARK  
  
I should have seen it coming, Pete. I saw what the Scream did to Chloe. I should have known.  
  
PETE  
  
What were you gonna do? What could you do?  
  
CLARK  
  
I could have done something. I shouldn't have let her out of my sight. I just wish I knew where she was.  
  
PETE  
  
We've looked everywhere. At some point, a person's gotta want to be helped.  
  
CLARK  
  
Darkseid sent the Scream after me. She doesn't deserve this.  
  
PETE  
  
No, she doesn't.  
  
Pete nods and hands the picture back to Clark.  
  
PETE  
  
We'll find her, Clark. We'll get her help.  
  
CLARK  
  
Yeah...  
  
He doesn't seem so sure.  
  
Pete looks at the pad of paper and turns it to try and read some of it.  
  
PETE  
  
What's this?  
  
CLARK Nah, it's nothing. It's trash is what it is. Chloe would be ashamed. Some reporter I turned out to be, I can't even write a simple speech.  
  
He laughs at himself.  
  
CLARK Heh, simple, yeah right. This is going to be the hardest thing I've ever had to do in my life.  
  
PETE  
  
How to tell the world...  
  
CLARK  
  
All my life, I've had to keep it a secret. I've had to keep it to myself. Now, all of a sudden the entire world's going to know. How are they going to react? You're my best friend and you flipped out on me when you found out. And then, even if they do accept me, what then? I'm not going to be able to lead a normal life, that's for sure.  
  
PETE  
  
Not necessarily. It doesn't have to be that way.  
  
Clark shakes his head.  
  
CLARK Pete, we've already been over this. I'm not wearing a mask. Bad guys wear masks.  
  
PETE  
  
Well, no, listen to me. I've been thinking about this.  
  
Pete walks across the room and sits down on a chair opposite Clark. Clark pivots in the chair to listen.  
  
PETE  
  
My aunt once told me a story about how my uncle once went on a business trip for an entire week. Now, the day he was supposed to get back just happened to be the day of their tenth wedding anniversary.  
  
CLARK Which aunt is this again?  
  
PETE  
  
I'm talking about Aunt Roberta.  
  
CLARK Oh...  
  
Clark crumples up his nose.  
  
CLARK  
  
Is she the one who uses that hairspray that smells like as...  
  
PETE  
  
No, that's Aunt Shayla. Aunt Roberta is the one who sweats a lot.  
  
CLARK  
  
That's right. Wait, then which one is the one with the mole?  
  
PETE  
  
That's my Aunt Sadie, but she's not really my aunt. She's just a good friend of my mother's from high school.  
  
CLARK  
  
Gotcha.  
  
PETE  
  
Can I continue with the story now, please?  
  
CLARK  
  
Go ahead.  
  
PETE  
  
Okay, so the day he was supposed to get back was the day of their tenth wedding anniversary. I mean, they had been married for ten years and had two kids. Now, for their anniversary, my aunt wanted to surprise my uncle so she got a total makeover. She went to the salon and had her hair done, she got her nails done, got a facial, new makeup, even new glasses. She used to have these one's that would take up like her whole head.  
  
CLARK  
  
Oh, I remember those. When she used to come over and sleep at your house, we used to steal them in the morning and burn ants with them.  
  
PETE  
  
Right!  
  
CLARK  
  
Yeah, those things were huge.  
  
PETE  
  
Yeah, well, anyway she was like a totally new person. She even bought a new dress and everything. Well, when my uncle came home, he almost attacked her, and I don't mean in the "chicka chicka boom boom chicka chicka boom boom" kind of way. No, like the "get out of my house, you stranger, before I call the cops on you" kind of way. He didn't recognize her. They had been married for ten years and he almost belted the poor old girl because he thought she was someone else.  
  
CLARK  
  
Wow.  
  
PETE  
  
Yeah, give you any ideas?  
  
Clark thinks for a second, then, shakes his head.  
  
CLARK  
  
Pete, I don't think a pair of glasses is really gonna cut it.  
  
PETE  
  
I'm not talking about a pair of glasses, I'm talking about the whole ensemble; the glasses, maybe you wear your hair differently, get some new digs.  
  
CLARK  
  
I don't want to hide who I am, Pete. It's just like the mask.  
  
PETE  
  
You wouldn't be hiding. All you have to do is make the difference so incredible that no one would even think to look.  
  
CLARK I don't know...  
  
PETE  
  
What's the worst that could happen? Somebody figures it out and you end up right back here where you started.  
  
CLARK  
  
It would give me the chance to live a normal life, or at least as close to normal as I'm going to get... but won't people still be able to recognize my voice?  
  
PETE  
  
You'll just have to come up with a new voice.  
  
Pete contorts his face oddly as he mimics a classic mobster voice.  
  
PETE  
  
Somethin' like this, see. You dirty rat...  
  
Pete stands up from the chair and starts pacing. He contorts his face again, turning his eyes to slits, talking in a loud, scratchy, whisper.  
  
PETE Or like this, that way you're not even really using your voice at all.  
  
Mid-step, Pete turns and uses his fingers like a gun, doing his best impression of a rather well known British secret agent.  
  
PETE  
  
Or if you're going for something super cool, you could try something like this. Kent... Clark Kent.  
  
Pete laughs and slips into Austin Powers.  
  
PETE  
  
Yeah baby, yeah!  
  
CLARK What about something like this?  
  
Pete freezes, hearing his own voice come out of Clark's mouth.  
  
PETE  
  
Say that again...  
  
Clark plays stupid.  
  
CLARK Say what?  
  
Clark mimics Pete's voice perfectly, smiling mischievously.  
  
PETE  
  
::shakes head:: Oh... Oh, hell no. Hell no.  
  
CLARK What? I kind of like this one. No one would ever suspect a thing... my man.  
  
PETE  
  
Clark, I ain't playin' wit' you. What did I say about you not telling me about powers?  
  
Clark laughs, going back to his own voice.  
  
CLARK I told you I have a good ear.  
  
PETE  
  
Yeah, and if you ever do that again I'm gonna smack both your ears right off your head.  
  
CLARK  
  
I'll work on the voice.  
  
PETE  
  
Yeah, you do that.  
  
Clark and Pete turn their attention to the window and the sound of a car coming down the driveway. Pete walks over to the window to look out.  
  
PETE  
  
Chloe...  
  
CLARK  
  
Yeah, I know.  
  
Using his super hearing, Clark can hear her crying from the driver's seat.  
  
CLARK She's crying.  
  
Clark stands and he and Pete head for the stairs.  
  
EXT. KENT FARM – DAY  
  
Chloe gets out of her car and heads for the house, but stops when she sees Clark and Pete coming out of the barn.  
  
CLARK  
  
Chloe... What's wrong?  
  
She's not sobbing, but she does wipe some tears from her eyes.  
  
CHLOE  
  
What? You mean you don't know?  
  
PETE ::shakes head:: No.  
  
CLARK  
  
Know what?  
  
CHLOE  
  
Honestly, don't you two ever watch the news? Lex Luthor sold the plant to Wayne Enterprises.  
  
CLARK  
  
He did what?  
  
Chloe nods.  
  
CHLOE  
  
And Bruce is shutting it down. He's offered all the plant workers jobs and temporary housing in Gotham City, and my Dad took it. We're moving. We're leaving Smallville. 


	7. Ascension Part 7

INT. KENT HOUSE - KITCHEN  
  
Leaning with his back up against the counter, Pete steadily taps the cabinet door behind him with each of his index fingers. The annoying tapping nearly shakes Chloe out of her Sketchers. She conveys her irritation by promptly plucking a grape from the fruit bowl on the counter and bouncing it off the side of his head.  
  
PETE  
  
Hey!  
  
CHLOE  
  
Must you do that?  
  
PETE  
  
I'm sorry. I'm thinking.  
  
CHLOE  
  
A dangerous concept in and of itself.  
  
PETE Maybe we could talk to him, try and convince him to stay.  
  
CHLOE  
  
::shakes head:: I tried talking him out of it all morning. I tried everything. I used up the entire arsenal, everything from puppy dog eyes, to "I'm never talking to you again", to whining like a little baby. You try convincing a man who's been assaulted twice in his own home not to move. He was looking for any excuse at all to tuck tail, even if it did mean moving to a gutter pit like Gotham.  
  
MARTHA  
  
I still don't understand why Bruce Wayne would want to buy the plant from Lex just to shut it down. I never liked the idea of them building it here in the first place, but it does provide jobs for the townspeople and it's been making money. Why would he want to shut it down?  
  
PETE  
  
I think I might have a guess.  
  
Chloe scowls at Pete.  
  
CHLOE  
  
That's not it.  
  
PETE  
  
Okay, maybe that's not the only reason, but it's an awfully convenient bonus, don't you think?  
  
CHLOE  
  
No one chucks millions of dollars out the window, putting more than a hundred people out of work, just to get their would be girlfriends to move, not even Bruce Wayne... as flattering and romantic, but pigheaded and entirely perfidious, as that might be.  
  
Pete looks confused and shoots Martha a quick glance. She seems to understand his confusion.  
  
MARTHA  
  
It means dishonest.  
  
He nods an "oh" and looks back at Chloe.  
  
PETE  
  
Chloe, Bruce Wayne is one of the richest men on the planet. To him, buying the plant was like one of us throwing a fifty in the offering plate at church on Sunday. Guys like that, it's all about getting what they want, and who cares about everybody else? As long as he thinks he's gonna get the girl, what does he care about a few lost pennies?  
  
MARTHA  
  
Pete, Bruce Wayne is one of the richest men in the world because he cares about every penny.  
  
PETE  
  
Okay, fine.  
  
He gives up the argument.  
  
PETE  
  
At the very least, you probably have some pull with the guy, though, right? Why not get him on the phone, schmooze him up? You two could get together. You can do that thing you do.  
  
CHLOE  
  
What thing?  
  
PETE  
  
You know, that thing you do when you want something from a guy.  
  
CHLOE  
  
I don't know what you're talking about.  
  
She lied.  
  
PETE Sure, you do. You know that thing you do with your...  
  
Chloe quickly interrupts him, talking loud and fast.  
  
CHLOE Ahhababananana...  
  
Her face turns red, the color of her shirt.  
  
PETE  
  
But you said it works every...  
  
CHLOE  
  
Nana na na na...  
  
She grabs a handful of grapes and quickly shoves them into his mouth to shut him up.  
  
CHLOE  
  
Here, eat some grapes. They're good for you.  
  
Clark raises an eyebrow in Chloe's general direction. She laughs bashfully and cowers.  
  
Meanwhile, Pete chews for a second before spitting the grapes out into his right hand. With his left, he grabs Chloe's hand and slaps the mushy wad of crushed grapes into her hand.  
  
CHLOE  
  
Ew! Pete! Gross!  
  
She quickly runs to the sink to wash her hands.  
  
PETE  
  
I'm just saying, maybe you could talk to Bruce. At least figure out why he's shutting the plant down.  
  
She dries her hands.  
  
CHLOE  
  
I already did.  
  
PETE  
  
You did?  
  
CHLOE  
  
That's the first thing I did.  
  
PETE  
  
And what did he say?  
  
CHLOE  
  
He came up with some convoluted excuses about appeasing environmentalists, and taxes. Oh, but get this, you're gonna love this one. He also claimed, and I quote, he was "doing it for the good of Gotham City."  
  
MARTHA  
  
How does shutting down the plant in Smallville affect Gotham City?  
  
CHLOE  
  
It doesn't, but by offering all the out of work plant employees jobs in Gotham, he's hoping to "breathe an influx of country wholesomeness into the otherwise diluted moral consortium that is Gotham's population".  
  
PETE  
  
Oh, please.  
  
CHLOE  
  
I know, such a humanitarian, right?  
  
PETE  
  
What a friggin' load.  
  
MARTHA  
  
Peter! You watch your language.  
  
PETE  
  
Yes, Mrs. Kent. Sorry, Mrs. Kent.  
  
Chloe rolls her eyes and breathes a deep, frustrated, breath.  
  
CHLOE  
  
I just don't know what I'm going to do. I mean, Dad didn't even discuss it with me first. How can you just make a decision to up and move like that without talking to the other people it affects?  
  
PETE  
  
I don't know.  
  
CHLOE  
  
I don't want to leave. It's not fair. Smallville is my home. My friends are here. The Torch is here.  
  
She looks at Clark.  
  
CHLOE  
  
My life is here.  
  
Clark fidgets uneasily in the corner.  
  
CHLOE  
  
I just don't see how I have any choice.  
  
Martha silently diverts her eyes to a picture of Jonathan up on the wall near the staircase leading upstairs. A second later, she diverts her eyes again, this time to the sewing machine in the other room where the top to the blue suit sits folded on the side shelf.  
  
MARTHA  
  
You could stay here.  
  
They all look over at Martha.  
  
MARTHA  
  
With your father's permission, of course. You could take the guest bedroom... and I could always use an extra hand around the house...  
  
She hesitates, sadly.  
  
MARTHA  
  
...now that... well... You'd certainly be welcome.  
  
She smiles at Chloe, warmly.  
  
PETE  
  
Yeah, yeah, your father might go for that. After all, he took Lana in, right?  
  
CHLOE  
  
Oh, no, Mrs. Kent, I wouldn't want to impose.  
  
MARTHA  
  
You wouldn't be imposing at all. I'd love to have you. You can stay as long as you need. Besides, it'd be kind of nice to have another girl in the house for a change.  
  
Chloe looks over at Clark to gauge his reaction. He doesn't seem particularly thrilled at all. In fact, he seems rather alarmed by the proposition. She shrugs it off, though, excited about the idea.  
  
CHLOE  
  
I mean, it really wouldn't be that long, just until I graduate. And I could...  
  
CLARK  
  
No...  
  
Conspicuously silent up until now, Clark interrupts.  
  
CLARK  
  
You should go with your father. You should go to Gotham City.  
  
CHLOE  
  
But why if I can stay here, if I can stay with you? I'm going to be going to college soon anyway at Metropolis University, for their Daily Planet co- op program. It'll just be like I'm starting a little early, that's all.  
  
Clark gets up from the chair.  
  
CLARK  
  
Your father made the decision and it's his to make. He's the head of your family and you should do as he says. You should go where he goes.  
  
CHLOE  
  
I'm going to ask him first, obviously, but if he agrees, it's not like I'd be cutting off all contact with him. There's phone, e-mail...  
  
CLARK  
  
You can't help him get to his wheelchair from over the phone.  
  
CHLOE  
  
The doctors say he's going to be out of the chair in a couple of weeks, and Bruce told me he'd provide a nurse to help him around as long as he needs one. I don't see the problem.  
  
CLARK  
  
What if he doesn't want a nurse? What if he wants his daughter?  
  
CHLOE  
  
And what about what I want, Clark? He never gave me any choice at all.  
  
CLARK  
  
He's the father. You're the daughter. He doesn't have to give you one.  
  
MARTHA  
  
Clark!  
  
PETE Whoa.  
  
CHLOE  
  
What is this, Clark? When it was Lana, you were all about adolescent autonomy. Now, all of a sudden, you're the poster boy for parental ascendancy?  
  
Pete looks over at Martha.  
  
MARTHA  
  
Control.  
  
PETE  
  
::nods:: Right.  
  
CLARK  
  
This is a completely different situation.  
  
CHLOE  
  
Why? How? How is this any different?  
  
CLARK  
  
Nell wasn't Lana's parent.  
  
CHLOE  
  
Oh, like that has anything to do with it at all. Why don't you just admit it, Clark? When it came to Lana you were all for it, anything to keep Miss Prissy Princess from leaving, but now that it's me, you're ready to pack my bags and it's, "See ya, later, don't let the storm door hit you in the ass on the way out."  
  
CLARK  
  
It's not like that at all. You know how I feel about you.  
  
CHLOE  
  
I thought I did, but now I'm not so sure we aren't right back to curbside Chloe all over again.  
  
CLARK  
  
I just don't want to see you and your father separated.  
  
CHLOE  
  
And what about us, Clark? What about the two of us being separated? How do you feel about that? Do you even care about that at all?  
  
Stymied, he says nothing. She awkwardly tries to keep herself from crying in front of everyone.  
  
CHLOE Yeah, well, don't get all choked up or anything, Clark.  
  
She storms passed him and heads for the door.  
  
CHLOE  
  
Obdurate bastard.  
  
Martha turns to Pete, who shakes his head.  
  
PETE  
  
That one I got.  
  
Clark reaches after Chloe as she storms out the door.  
  
CLARK  
  
Chloe...  
  
He doesn't follow her. Instead, he turns to Pete and Martha for support. By the looks of things, he turned to the wrong place.  
  
PETE  
  
What the hell was that about?  
  
Pete runs after Chloe, leaving only Clark and Martha behind in the kitchen.  
  
MARTHA  
  
Clark Kent, that was a terrible thing you just did.  
  
CLARK  
  
You think I wanted to do it?  
  
MARTHA  
  
I don't pretend to know what you were trying to do, but I'm pretty sure you were only thinking about yourself.  
  
Martha starts to cry, which takes Clark by surprise. She runs upstairs.  
  
Clark debates which one he should go after first.  
  
EXT. KENT FARM – DAY  
  
Clark runs down the porch steps just in time to see Pete watch Chloe drive off. Pete turns around and walks up to Clark.  
  
PETE  
  
What the hell is wrong with you?  
  
Pete punches Clark hard, hurting himself.  
  
CLARK She'll be safer in Gotham.  
  
PETE  
  
Man, don't give me that. You told me Darkseid was in Gotham too.  
  
CLARK  
  
But he doesn't know she will be. It's better this way, better for her.  
  
PETE  
  
Yeah, if you call Chloe thinking you hate her better.  
  
CLARK  
  
I don't hate her, that's why I'm doing this. I'm trying to keep her safe... I love her.  
  
PETE  
  
Well, maybe you should try telling her that. While you're at it, you might try telling her something else too.  
  
Pete walks back to the house, holding his hand.  
  
Clark gazes down the driveway after Chloe, considering Pete's words.  
  
EXT. SMALLVILLE ROAD – DAY  
  
Chloe wipes the tears from her eyes as she drives down the dirt roadway when something along the side of the road catches her eye.  
  
A cloud of dust kicks up from the road as Chloe slams on her breaks, bringing the car to an abrupt stop. She puts the car in park. Eyes wide, her mouth ajar, she rolls down her window to get a better look. Sure enough, Clark Kent stands leaning against a lone tree on the side of the road.  
  
CHLOE  
  
How...  
  
She gives a quick look around, finding no car or any other means of transportation in sight.  
  
CHLOE  
  
How... How did you get here?  
  
Clark stands up away from the tree.  
  
CLARK  
  
We need to talk.  
  
She shakes her head and looks forward, to the road ahead.  
  
CHLOE  
  
I think you said everything you needed to say.  
  
CLARK  
  
I didn't say anything.  
  
CHLOE  
  
And that was plenty.  
  
She puts the car back in drive.  
  
CHLOE  
  
You know, I may not have been the prettiest girl at school, or the most fun, or the most exciting... but I loved you. I loved you as much as anyone could have. I'm sorry if that was an inconvenience to you.  
  
She hits the gas and starts to drive away, but quickly has to slam her foot down on the brake when the tree Clark was leaning against falls out into the road in front of her.  
  
Brushing some stray strands of hair from her eyes, she surveys the fallen tree, tracing it from the branches in front of the car all the way to the thick roots torn from the Earth. She looks back at Clark, who stands where the tree once was, fresh from pushing it over.  
  
CLARK We really need to talk. 


	8. Ascension Part 8

INT. KENT HOUSE – KITCHEN  
  
Chloe sits at the table staring blankly ahead at nothing in particular, as if Clark and Pete weren't even there. They wait for her to say something. After several seconds, she finally blinks.  
  
CHLOE  
  
Wow. That's a lot of information.  
  
She stands up from the table. Clark and Pete follow suit.  
  
CHLOE  
  
I think I need a nap.  
  
They follow her into the living room.  
  
INT. KENT HOUSE – LIVING ROOM  
  
Like a wide-eyed zombie, Chloe walks over to the couch and lies down. She stares straight up at the ceiling at nothing in particular. Clark and Pete look worried and rightfully so.  
  
PETE  
  
Yo, Chlo... Sup?  
  
CHLOE  
  
I can't sleep.  
  
She sits up and blinks again.  
  
CHLOE  
  
I'm thirsty.  
  
She stands up from the couch and its back to the kitchen.  
  
CLARK Chloe...  
  
INT. KENT HOUSE – KITCHEN  
  
She ignores Clark and heads straight for the refrigerator. Opening it up, she grabs the carton of milk and pours herself a... bowl. She puts the carton back... in the microwave... and leaves the bowl on the counter.  
  
CHLOE  
  
I think I need some fresh air.  
  
Clark and Pete each shrug as Chloe heads for the door. They follow her, not expecting her to make a quick pivot. She sits back down at the table, again staring straight ahead at nothing in particular.  
  
Clark and Pete sit across from her at the table.  
  
CLARK  
  
Chloe...  
  
Whatever she sees in the abyss she's staring into, it has her complete attention.  
  
PETE  
  
Chloe... Earth to Chloe...  
  
Pete takes his hand and waves it in front of her face. She doesn't flinch.  
  
CLARK Chloe, are you all right? Do you want me to get you something? Something to eat? Something to drink? Water?  
  
PETE  
  
Ritalin?  
  
Clark shoots Pete an angry glance.  
  
CLARK Chloe, please say something. You're starting to worry me.  
  
PETE  
  
You know, this is the first time I've ever seen Chloe speechless. Quick, what else ya got?  
  
CHLOE The man I love is an alien. I mean, not that it should surprise me or anything. It makes perfect sense really.  
  
CLARK  
  
It does?  
  
PETE  
  
It does?  
  
CHLOE  
  
Well, yeah. My cousin always used to tell me I have trouble identifying with other members of my own species. It makes sense that I would fall in love with someone who wasn't. Even when I was growing up, my best friend was a little white rabbit I found at the zoo.  
  
PETE  
  
You "found" a rabbit at the zoo?  
  
CHLOE  
  
His name was Tommy, little Tommy Brokaw. I used to sleep with him ya know.  
  
After getting no reaction at all from Chloe, Pete turns to Clark.  
  
PETE  
  
That is getting weird on so many levels.  
  
CHLOE  
  
Then it died. He jumped out the window, but that didn't kill him. He bounced when he hit the ground, landed on his feet in the driveway. That's when my Dad ran him over with the car. That didn't kill him either, though. He just sorta flew through the air... and landed in the neighbor's yard... with Butch the Doberman. He tore him to shreds.  
  
PETE  
  
That's the most horrible thing I've ever heard.  
  
CHLOE  
  
It was a bad day. I had to go to therapy for three months. He was a good little bunny... except to old ladies with hats. He didn't like hats.  
  
She huffs.  
  
CHLOE  
  
You know, I was watching the news the other night and there was this report about this woman who accidentally locked her kid in her car with the keys. This kid was like three years old and he turned the car on and the car actually started moving, but because of all the adrenaline and endorphins running through her system she had this like super strength and actually tore the door right off the car.  
  
She looks at Clark.  
  
CHLOE  
  
If you can really do all those things, prove it. I mean, anybody can knock over a tree.  
  
Pete looks confused.  
  
PETE  
  
What kind of crowd you been hangin' out with?  
  
CLARK  
  
::shakes head:: Chloe...  
  
CHLOE  
  
Humor me... Please, for the love of God, humor me. I mean, I've known you for years, and I'm a reporter. These kinds of things don't get by someone with my observational and investigative skills. This is just one big joke. You can't really do all those things. If you could...  
  
She glances around the room before settling her eyes back on Clark, a new grin on her face.  
  
CHLOE  
  
You'd be able to tell me what color underwear...  
  
Pete smiles.  
  
PETE  
  
::nods:: Oh yeah...  
  
CHLOE ... Pete's wearing.  
  
Pete's smile quickly disappears.  
  
PETE ::shakes head:: Oh no...  
  
He looks over at Clark.  
  
PETE  
  
Don't even think about it.  
  
Clark stares at Pete and Pete stares right back. Clark's eyes begin to wander to the right and Pete sticks his finger in Clark's face.  
  
PETE  
  
Nuh uh! Keep 'em up!  
  
Clark's eyes wander to the left.  
  
PETE  
  
Clark, man, I'm warnin' you! You hear me? I ain't playin' with you!  
  
CLARK Look, I'm not gonna do it, okay.  
  
PETE  
  
Damn straight you're not.  
  
Clark looks back at Chloe.  
  
CLARK  
  
You want me to light him on fire instead?  
  
Pete jumps up from the table.  
  
PETE  
  
No, man, this ain't right!  
  
Clark looks over real quick, then back at Chloe.  
  
CLARK  
  
Dark blue.  
  
Pete takes a quick look down. He throws his arms into the air.  
  
PETE  
  
Da, man! Come on!  
  
He sits back down at the far end of the table. He shoots Chloe a dirty glance as she giggles in her seat.  
  
PETE  
  
Not cool. That is not cool.  
  
CHLOE  
  
That's hysterical.  
  
CLARK  
  
Pink.  
  
Chloe chokes on a giggle and becomes suddenly silent. Her eyes widen, looking back at Clark. He's smiling.  
  
Pete smiles too.  
  
PETE  
  
Aw, yeah. That's right...  
  
He pulls a napkin from the napkin holder and dabs the sides of his mouth.  
  
PETE  
  
A nice dish of cold revenge. That was good. I liked that. That was nice.  
  
She blushes and folds her arms across her chest, receding back in her chair.  
  
CHLOE  
  
Okay, so you've got the powers. You're sure you're an alien, though? I mean, you're sure you're not just some kind of super meteor rock freak?  
  
CLARK  
  
Yeah, I'm sure.  
  
CHLOE  
  
Really sure?  
  
CLARK  
  
Really, really sure.  
  
CHLOE  
  
Oh.  
  
A long, awkward, pause... Clark is the first to break the silence.  
  
CLARK  
  
So...  
  
CHLOE ::nods:: So...  
  
CLARK  
  
Any thoughts?  
  
CHLOE Oh, I have lots of thoughts. I have tons, a whole slew of thoughts. I'm just not really sure which one to run with, that's all. I mean, how am I supposed to feel right now? How am I supposed to react? It's not like there's some sort of rule of thumb, some sort of standard I can go by here. What am I supposed to say? What am I supposed to do? I don't know, Clark. I just don't know. This is...  
  
She searches for the right word.  
  
CHLOE  
  
... incredible! This is... mind-boggling. What do I feel? How do I react to this? I've gone out with freaks before, but never freakin' E.T.  
  
She shakes her head, practically hyperventilating on her own thoughts.  
  
CHLOE  
  
The little girl in me thinks this is the coolest thing ever. I'm in love with He-Man for crying out loud! The reporter in me wants exclusive interview rights. On the other hand, the human being in me is scared out of her mind because there's an alien overlord trying to take over the world!  
  
CLARK  
  
That's not going to happen. I won't let it happen.  
  
CHLOE  
  
That's another thing. Why the hell is that so reassuring? I look at you, and you say that, and it's like nothing's wrong. I'm worried, but I'm not afraid. Then, I look away, or I blink, and suddenly I'm terrified... because I don't know who you are.  
  
CLARK  
  
Yes, you do.  
  
CHLOE  
  
::shakes head:: No, I don't. How could I? I mean, I'd like to think I do. I'd like to think you're the same Clark Kent from school, the same Clark Kent I've known for years, but how can I be sure? How can I be so sure you are who I think you are when I didn't even know the most important thing about you?  
  
PETE  
  
Chloe, listen, when I found out about all this, I'll be the first to admit that I freaked out too. It blew me out of my shoes. But I'm telling you, with Clark Kent what you see is what you get, regardless of where he's from or what you know about him. He's the same dude... there's just a little more to the story.  
  
CHLOE  
  
Yeah, a "little more"... the same way the New Testament is just a "little more" of the Bible.  
  
CLARK  
  
Chloe, you have to believe me, I didn't want to keep this from you.  
  
CHLOE  
  
Then, why did you? Didn't you trust me?  
  
CLARK  
  
It's not a matter of trust. It never was. My secret... it can be more of a burden than it is a gift. Yeah, it may be "cool" to be able to lift a car up over your head, until someone turns around and wants to exploit it, turn you into a sideshow or a science experiment... or worse. I just... I didn't want to lay that burden on you.  
  
CHLOE  
  
Well, that is the same old Clark Kent, I guess, trying to protect everyone again. I'm a big girl.  
  
CLARK  
  
I know... but you're not invulnerable. That's why you should go. You should go with your father to Gotham City. You'll be safer there.  
  
CHLOE I think that's the first time anyone's ever said that about Gotham City.  
  
CLARK  
  
Just the same. Please, just do it. Do it for me.  
  
CHLOE  
  
Well, that's the real question, isn't it? You're going to be here. It sounds to me like the safest place to be is right here, with you.  
  
Clark says nothing, even turns away. Confused by his reaction, she reads all she needs to know off of Pete as he tries to avoid eye contact with her.  
  
CHLOE But you're not going to be here... are you?  
  
His silence is all the answer she needs.  
  
CHLOE  
  
Oh. All good things, huh?  
  
CLARK  
  
I have no choice. I have to leave. I have to stop him. Besides, it's me he wants. Once I leave, he'll leave Smallville alone.  
  
CHLOE  
  
Speaking of alone... If you leave, what's going to happen to your mother?  
  
Clark looks back at Chloe, as if the thought had never even occurred to him.  
  
CHLOE  
  
She's going to be all alone, Clark.  
  
Clark hangs his head and looks to the stairs. 


	9. Ascension Part 9

EXT. LUTHORCORP PRIVATE AIRLINES – DAY  
  
Maggie Sawyer, accompanied by several uniformed officers, pushes her way through a crowd of reporters towards a police barrier that's been setup around the LuthorCorp Private Airlines. Construction crews and emergency vehicles litter the mound of rubble where once stood the airline hangars.  
  
A familiar reporter manages to keep up with her, shoving a tape recorder in her face. His young intern, equally recognizable, follows in his tracks.  
  
PERRY WHITE  
  
Lieutenant Sawyer, Perry White of the Daily Planet, any news yet on the cause of this disaster?  
  
MAGGIE SAWYER  
  
No comment.  
  
PERRY WHITE  
  
What about the rumors circulating that it was a terrorist bombing in response to the recent declassification of the airline as a LuthorCorp sponsored military facility?  
  
MAGGIE SAWYER  
  
We've uncovered no evidence of any terrorist involvement.  
  
PERRY WHITE  
  
Then you deny reports that a rogue terrorist group known as the "Tir' Al Sun" has claimed responsibility for the explosion?  
  
MAGGIE SAWYER  
  
I don't know who your sources are, Mr. White, but if I were you I'd start looking for some new ones before yours head out to Hollywood where they can start making a real living on those absurd fairy-tales they've been selling you.  
  
She pushes her way passed the last line of reporters and crosses the police barricade, leaving Perry and his young intern behind.  
  
PERRY WHITE  
  
That's not a denial!  
  
Maggie sets her sights on a rather aggravated looking detective, weaving around emergency vehicles and clean-up crews on her march.  
  
MAGGIE SAWYER Conway...  
  
One of the escorting officers steps up next to her, matching her strides.  
  
CONWAY  
  
Yes, Lieutenant?  
  
MAGGIE SAWYER  
  
Who the hell are the "Tir' Al Sun"?  
  
CONWAY  
  
I've never heard of them.  
  
MAGGIE SAWYER  
  
You better check into it, just the same.  
  
CONWAY Yes, Lieutenant.  
  
Meanwhile, back behind the police line, Perry White laughs to himself. His intern takes notice.  
  
LOIS Who are the "Tir' Al Sun"?  
  
He looks at her with disdain.  
  
PERRY WHITE  
  
How the hell should I know? I made 'em up.  
  
Lois seems confused. Perry just shakes his head.  
  
PERRY WHITE  
  
You've got a lot to learn, little girl. Just stick to me and I'll teach you the way this business is done.  
  
Maggie Sawyer meets up with the gruff detective supervising the investigation. He's busy yelling at one of the construction workers with a crane.  
  
DAN TURPIN Dammit, you can't just go in and tear things apart like that! That pile of crap is still evidence!  
  
MAGGIE SAWYER  
  
What's the problem, Dan?  
  
DAN TURPIN  
  
Ah, these nincompoops are so busy trying to clear this place out, they're driving their rigs right over the site. They're tearing the place up.  
  
MAGGIE SAWYER  
  
I think the explosion did a fine enough job of that.  
  
DAN TURPIN  
  
I'm losing all my evidence. If these idiots keep tearing everything up, I'm not going to know what was caused by the explosion and what happened after. I've got a big enough mess on my hands here.  
  
MAGGIE SAWYER  
  
This isn't a CSI case, Dan. These guys are a professional clean-up crew. They know what they're doing.  
  
DAN TURPIN Bah!  
  
MAGGIE SAWYER Let them take care of their job, and you take care of yours.  
  
DAN TURPIN  
  
Hey, I am.  
  
MAGGIE SAWYER  
  
Then, what do ya got?  
  
Turpin pulls out a notepad from his trench coat pocket and flips it open.  
  
DAN TURPIN  
  
I got my guys interviewing everybody with a face, that's what I got, but I also got some pretty mixed up stories here, Lieutenant. It's not makin' any sense.  
  
MAGGIE SAWYER  
  
What are you talking about?  
  
DAN TURPIN I talked to a couple of security guards. They were on patrol last night, down below. They had some sort of cargo storage facility down there or somethin'. At least, that's what they tell me. Am I buying that? Well, that's another story.  
  
MAGGIE SAWYER  
  
Why would they lie?  
  
DAN TURPIN Hey, nearest I can tell they had more than eighty people down there, doing whatever the heck it was they were doing. Now, what do they need eighty people for at a freakin' storage facility?  
  
MAGGIE SAWYER Do you have any proof that they're lying?  
  
DAN TURPIN  
  
Sure, I do. It's just under a gillion tons a rock. I'm telling you, though, somethin' ain't right about this place, Lieutenant. Lionel Luthor and the military were doing some kind of freaky-deaky stuff down there, and they don't want us plebes to know about it. You want my opinion, that's what went up. Someone screwed up and the whole place came down around their ears.  
  
MAGGIE SAWYER  
  
Well, what did the security guards say?  
  
DAN TURPIN Eh. you gotta hear this one to believe it. I talked to them both, separately, to make sure I was gettin' a straight story. I didn't want them BS'n me tag team like, cause that's what I figured on them doing. Well, I didn't catch them none, but this is one doozy of a story.  
  
MAGGIE SAWYER  
  
Can the commentary, Turpin, just spill it.  
  
DAN TURPIN  
  
Apparently, some kind of super commando, dressed all up in black and paint and the whole deal, came down from the through the roof and took the place down with his bare hands.  
  
MAGGIE SAWYER  
  
You want to run that one by me again.  
  
DAN TURPIN I ain't crappin' ya, honest. This guy comes in and attacks 'em, right. So, they pull their irons, only he catches the bullets. Then, he just drops 'em in front of them, like it was nothing, and tells 'em to jet.  
  
MAGGIE SAWYER  
  
Right. Did they notice if he was carrying any explosive devices?  
  
DAN TURPIN  
  
According to them, the only thing he was packin' was some steel cojones. This guy went all berserker on the place and starts taking out the support beams with his bare hands.  
  
Sawyer rolls her eyes.  
  
MAGGIE SAWYER  
  
Did you get a tox screen on these two?  
  
DAN TURPIN  
  
Sure did. It came up negative. Although, one of them did check positive for abnormally high doses of Viagra. Apparently, his cojones are more of the cream puff variety.  
  
MAGGIE SAWYER  
  
You're disgusting, Dan.  
  
DAN TURPIN  
  
Hey, I calls them as I sees them. Personally, I'd never take the stuff. I'm too much man for my girl as it is.  
  
MAGGIE SAWYER  
  
Yeah, you're too much, all right.  
  
DAN TURPIN  
  
I got some uniforms taking statements from the rest of the lot. Most of them don't speak any English, though. Do you have any idea how hard it is to find decent interpreters these days? I mean, holy geez. I had to call in the University. They're sending some coeds down here or something.  
  
MAGGIE SAWYER  
  
You're not serious.  
  
DAN TURPIN What? I got one little Asian guy, Hase... Hasematy...  
  
MAGGIE SAWYER  
  
Hasematura?  
  
DAN TURPIN That's him. He's all I got, and I got him chattin' it up with a bunch of longhorn night crawlers. You see my problem?  
  
Something over Dan's shoulder catches Maggie's eye.  
  
MAGGIE SAWYER  
  
Ah, son of a...  
  
Dan turns around to give a look of his own.  
  
DAN TURPIN  
  
... bitch. The Feds.  
  
Three jet black FBI cars skid to a screeching halt not twenty feet from where Sawyer and Turpin are standing. Two federal agents quickly step out of each car, six all together. The lead federal agent, Agent Marrienne, delegates assignments to the other five before approaching Sawyer and Turpin.  
  
MARRIENNE Agent Marrienne, Federal Bureau of Investigations.  
  
Turpin extends his hand to the agent.  
  
DAN TURPIN  
  
Dan Turpin, I was wondering when you a-holes were gonna get here.  
  
Marrienne ignores Turpin all together. She does shake Sawyer's hand, however.  
  
MAGGIE SAWYER  
  
Lieutenant Sawyer, Metropolis Police Department.  
  
MARRIENNE  
  
I know who you are, Lieutenant. Now, here's what I need from you. I want every single LuthorCorp employee detained for questioning. I want this airport shut down. No one leaves the premises without being thoroughly checked out and questioned by me or one of the other agents. I want these clean-up crews...  
  
MAGGIE SAWYER  
  
Agent Marrienne, I don't have the manpower to do that and even if I did, I don't have the authority to quarantine all these people.  
  
MARRIENNE  
  
I just gave you the authority. I'm under orders from the Secretary of Defense himself. Now, I want these clean-up crews out of here. We have our own team coming in. They'll be running the operation from here on out. This investigation is under Federal jurisdiction now.  
  
DAN TURPIN Hey, suits me fine. You just saved me a hell of a lot of paperwork. I'm gonna go get myself a coffee.  
  
MAGGIE SAWYER  
  
You're not going anywhere, Turpin.  
  
DAN TURPIN  
  
What? I was gonna get you one too.  
  
MAGGIE SAWYER  
  
Detective Turpin has been in charge of the investigation up until this point. I assume you'll want to debrief him.  
  
MARRIENNE  
  
You assume correctly. If we're going to clean up this mess, we'll have to start by cleaning up his.  
  
DAN TURPIN Hey!  
  
MAGGIE SAWYER  
  
I'll see about locking down the terminal.  
  
MARRIENNE  
  
You do that.  
  
Sawyer leaves Marrienne with Turpin, much to her own personal relief, and starts walking back toward the police barricade. As she walks around the third FBI car, though, she is surprised to see someone still sitting inside.  
  
LEX  
  
Good afternoon, Lieutenant.  
  
Lex smiles at her from inside the car. Hesitantly, curiously, she tips her hat to him before continuing on her way. 


	10. Ascension Part 10

INT. KENT FARM – CLARK'S LOFT  
  
Chloe drops a large, heavy, cardboard box, kicking up a cloud of dust and dirt. Coughing a bit, she and Pete open it up and scurry through the contents, some old clothes, like two little kids opening their gifts at Christmas time. Clark, meanwhile, sits at the desk with a pencil in his hand, hovering over the pad of paper. He looks up long enough to yell at them.  
  
CLARK  
  
Hey, be careful with that. You're gonna break something.  
  
CHLOE  
  
Chill, Clark, they're just clothes.  
  
CLARK  
  
Yeah, well, I thought you were going to help me with my speech.  
  
CHLOE  
  
I am, I can listen and scavenge at the same time.  
  
Pete pulls out an old sweater, missing a sleeve.  
  
PETE  
  
Ouch. Someone got a little too close to the animals during feeding time.  
  
Chloe looks at the sweater and shrivels up her nose.  
  
CHLOE  
  
Ew. No big loss.  
  
She pulls out a green and pink checkered short sleeve shirt.  
  
CHLOE  
  
And, for that matter, what decade was this from?  
  
PETE  
  
Don't you mean what century?  
  
Clark starts getting impatient.  
  
CLARK  
  
Are you going to listen or take pot shots at my parent's fashion sense?  
  
CHLOE  
  
I'm listening. I'm listening. Go ahead.  
  
Clark picks up the pad and clears his throat.  
  
CLARK  
  
Okay... Ehem... Ladies and gentlemen, I...  
  
CHLOE  
  
Wrong.  
  
CLARK  
  
Wrong?  
  
CHLOE  
  
This isn't a speech for the debate team, Clark. You can't afford to let a formulaic preamble disengage your audience. When the President of the United States makes a speech to the public, he starts out with, "My fellow Americans". You need something along those lines to really grab the people's attention.  
  
Pete pulls out a pair of plaid jeans from the box.  
  
PETE  
  
Ugh... He could wear these while he's sayin' it. That'll grab some attention.  
  
CHLOE  
  
You don't want that kind of attention.  
  
Chloe checks the side of the box.  
  
CHLOE  
  
Are these your parents' old clothes or Halloween costumes.  
  
CLARK  
  
What about, "People of Earth"?  
  
Chloe rolls her eyes.  
  
CHLOE "Show me to your leader." Come on, Clark. You can do better than that. Try being just a little creative.  
  
CLARK  
  
Okay, you do better.  
  
She thinks for half a second.  
  
CHLOE  
  
Ok... "Citizens of Earth, my friends..."  
  
PETE  
  
That's good.  
  
She smiles proudly.  
  
CHLOE  
  
Thank you.  
  
Clark looks down at the pad and shakes his head. He erases what he has, and pencils it in.  
  
CLARK  
  
::under breath:: Show off...  
  
CHLOE  
  
What was that, dear?  
  
CLARK Nothing, I didn't say anything.  
  
CHLOE  
  
Okay, so what else ya got?  
  
CLARK  
  
"My name is Kal-El, from the planet Krypton."  
  
CHLOE  
  
Uh, freak everybody out, why don't you?  
  
CLARK  
  
What now?  
  
CHLOE  
  
Why don't you just call yourself Mendar from Mars?  
  
CLARK  
  
Kal-El is my real name.  
  
CHLOE  
  
You don't have to tell them that.  
  
CLARK  
  
Isn't that the whole point?  
  
CHLOE  
  
Never give the people more information than they need to know.  
  
PETE  
  
As a reporter, I thought it was your job to give the people all the information possible?  
  
CHLOE  
  
As a reporter, your job is to report the news, but if you report all the news today, you'll have nothing to write about tomorrow. All the people really want to know is as much as they need to get through the day. Tell me what I need to know right now and tell me the rest tomorrow.  
  
CLARK Well, if I'm not going to tell them anything, what does that make me?  
  
CHLOE  
  
The Man of Tomorrow?  
  
PETE  
  
Hey, I like that.  
  
Pete looks over at Clark.  
  
PETE  
  
You should call yourself that.  
  
CLARK  
  
I have a name!  
  
CHLOE  
  
Kal-El? It doesn't exactly roll off the tongue.  
  
CLARK  
  
Hey, I was given the name, okay? It's not like I had a choice.  
  
CHLOE  
  
Yeah, well, just the same, I'd 'give' myself another one if I were you.  
  
Chloe moves on to another box, fed up with the contents of the first one.  
  
CHLOE  
  
Geez, Clark, there's like nothing usable in any of these.  
  
CLARK  
  
Usable for what? I don't even know why you had me bring them up here. I already picked something out.  
  
She digs deep into the second box and pulls out a yellow belt.  
  
CHLOE  
  
Yes, very cool. What kind of superhero doesn't accessorize?  
  
CLARK  
  
I'm not a superhero.  
  
CHLOE  
  
You gonna save the world?  
  
CLARK  
  
I hope too.  
  
CHLOE  
  
You have super powers?  
  
CLARK  
  
Yeah.  
  
CHLOE  
  
::nods:: Superhero.  
  
She gasps.  
  
CHLOE You're going to need a cape!  
  
Pete looks up, throwing his hands into the air.  
  
PETE  
  
Thank you!  
  
CLARK I'm not wearing a cape.  
  
CHLOE Uh, you said you're not wearing a mask. You only get one veto.  
  
CLARK  
  
Since when?  
  
CHLOE  
  
Since you told Pete your secret before you told me.  
  
Clark sighs.  
  
CHLOE  
  
So, what kind of color scheme are you going for anyway?  
  
She sizes him up.  
  
CHLOE  
  
I'm guessing primary colors by what you've got going here, red and blue, am I right?  
  
Clark shakes his head and goes back to his pad. Frustrated, he turns it over to the back piece of cardboard and doodles while he brainstorms.  
  
PETE  
  
::nods:: Right.  
  
She throws the yellow belt at Clark, who nearly falls out of his chair trying to catch it.  
  
CHLOE  
  
Typical. Well, the yellow will add a little flair to it, anyway. Seriously, though, men shouldn't be allowed to be superheroes. Whenever you see a guy designing a superhero costume, it's the same thing every time. You get your basic tights, mask, and iron on patch on the chest. What's up with that?  
  
PETE  
  
Hey, that's right, you're gonna need one of those!  
  
CHLOE  
  
Oh, great, here we go. I'm sorry I even mentioned it.  
  
PETE  
  
It needs to be something good, though, something people can instantly recognize and rally behind... like the logo for a sports team... or the American Flag.  
  
Clark looks up at Pete, then back down at his pad.  
  
CLARK  
  
You mean like a symbol?  
  
PETE  
  
Yeah, like a mark, your mark. It's got to be something so inherently you, that whenever somebody sees it, it's like, "Bam! That's him".  
  
Clark picks up the pad.  
  
CLARK  
  
You mean something like this?  
  
He turns it over and shows them his doodles on the back. There are several drawings scattered on the piece of cardboard, and one large one in the center. They are all drawings of the same symbol...  
  
Pete and Chloe each stand up and walk over to Clark. Chloe takes the pad from him and the two of them stare at the symbol.  
  
CHLOE  
  
What is it?  
  
CLARK  
  
It's a Kryptonian symbol. It's my family's shield.  
  
Pete scrutinizes the symbol carefully. He doesn't seem convinced.  
  
PETE  
  
Well... it's okay...  
  
CLARK But?  
  
PETE  
  
It's Kryptonian. No one's gonna know what it means. It just looks like a big eight.  
  
Clark takes the pad from Chloe and puts it back down in front of him.  
  
CLARK  
  
Fine.  
  
Chloe returns to her box.  
  
CHLOE  
  
It's nothing against you, Clark. It's just, there aren't many Kryptonians running around down here, that's all.  
  
Clark seems genuinely insulted. Shrugging it off, something hanging on the wall of the barn catches his eye; the metal "S" he designed in shop class. Looking up at the "S", then back down at the pad, Clark puts his eraser to use.  
  
PETE  
  
Yeah, man, total props to your hometown folks. I mean, without them there's no you, right?  
  
Pete moves on to inspect the contents of a third box.  
  
PETE  
  
It's just, you need something a little less "beam me up" and a little more "go humans!"  
  
Clark brushes the eraser shavings away with his hand and puts some finishing touches on the back of the pad with the pencil. Proudly, he picks it up and shows them the revised shield.  
  
CLARK  
  
What about this?  
  
Pete and Chloe each turn their attention to the new drawing. Passing each other a quick glance, it doesn't take them long to come to an agreement.  
  
PETE  
  
Now, that could work.  
  
Clark smiles. 


	11. Ascension Part 11

INT. WAYNE ENTERPRISES – TOP LEVEL  
  
The golden plaque mounted to the office door reads "Bruce Wayne".  
  
A single secretary sits behind a massive marble desk, diligently typing away at her computer. Off to the side, in a small waiting room, Lionel Luthor skims through a folder of black and white photographs handed to him by an assistant of his.  
  
LIONEL  
  
This can't be right.  
  
Lionel settles on a single photograph of Lex talking to a well decorated Army man at what appears to be a military base.  
  
WESTHAVEN  
  
These photographs were taken two days ago at Fort Riley. The man with your son is General Horatio Lester. Lester was overseeing the training of the twenty-fourth infantry division. Lex met with him for more than three hours behind closed doors.  
  
LIONEL  
  
Then, it's true.  
  
Lionel half chokes in disbelief.  
  
LIONEL  
  
He really did sign his life away.  
  
WESTHAVEN  
  
You've had me following him for more than six weeks. If he was up to something, I'd know it. So far, though, his story checks out. He's due to arrive at the base next week to begin his training.  
  
LIONEL  
  
It never occurred to me that he might be telling the truth.  
  
The blazingly beautiful secretary knocks at the entranceway to the waiting room. She is a tall, slender, redhead with wavy hair down to her waste.  
  
SECRETARY  
  
Excuse me, Mr. Luthor, Mr. Wayne will see you now.  
  
She catches Lionel by surprise.  
  
LIONEL  
  
What? Oh, thank you, my dear.  
  
She smiles and walks back to her desk. Westhaven admires her more shapely assets as she walks.  
  
WESTHAVEN  
  
I wonder how she got her job.  
  
It was a rhetorical question.  
  
LIONEL  
  
It's good to be rich.  
  
WESTHAVEN  
  
Apparently.  
  
Lionel stands up and hands the folder to Westhaven.  
  
LIONEL  
  
Thank you, Derek. Now, wait for me at the car. This shouldn't take long.  
  
WESTHAVEN  
  
Yes, Mr. Luthor.  
  
The two part ways, Westhaven for the elevator and Lionel for Bruce's office.  
  
INT. WAYNE ENTERPRISES – BRUCE'S OFFICE  
  
A small stone gargoyle sits on a clear glass desk next to a dated picture of a man and a woman on their wedding day. The only other item on the desk is a closed, paper thin, laptop.  
  
The office itself is rather unique in design, with the width of the room actually growing wider from the door to the far wall. At least, that's how it appears at first. It could merely be an optical illusion created by the heavily reflective material making up each of the side walls. Regardless, the entire room's décor, rather avant-garde in nature, seems designed to draw attention to the desk sitting in front of the far wall, which is itself a sheet of clear glass presenting an impeccable view of the city below. It appears the goal of the designer was to make everything on the door side of the desk appear distorted, while whoever sits behind the desk, and the city, remain distinct.  
  
Lionel barges through the office door, a man on a mission.  
  
LIONEL  
  
All right, Bruce, let's get straight to business...  
  
Lionel looks up to realize there's no one sitting behind the desk.  
  
LIONEL  
  
Bruce?  
  
Only briefly captivated by his unique surroundings, Lionel walks deeper into the office in search of the conspicuously absent Mr. Wayne.  
  
LIONEL  
  
Bruce?  
  
To the right of the desk, Lionel notices a small gleam of light sneaking through a crease in the wall. Walking over to it, he finds a small latch embedded into the wall and pulls at it. The entire panel swings open, revealing itself to be a door to an adjoining room.  
  
Lionel steps through the door.  
  
INT. WAYNE ENTERPRISES – PRIVATE FITNESS CENTER AND POOL  
  
The doorway leads Lionel to a complete fitness center and pool area that probably takes up the majority of the top floor of the building judging by how expansive it is. The pool itself is several times larger than an Olympic sized pool.  
  
Obviously enjoying himself mightily, Bruce Wayne skirts across the top of the water in what vaguely compares to a jet ski, pulling off hairpin one- eighty turns that send powerful waves of water over the edge of the pool. Meanwhile, Lucius Fox monitors Bruce's performance from off to the side, clipboard in hand.  
  
Lionel impatiently puts his briefcase down on the ground and folds his arms in front of him as he waits for Bruce to step out of the pool. Having had his fun, Bruce brings the "jet ski" up to the side, near Lucius, jumping off of it before it even comes to a complete stop.  
  
BRUCE  
  
It's still coming up out of the water too much, Lucius.  
  
Bruce grabs a towel from a towel rack and starts climbing out of his wetsuit.  
  
LUCIUS FOX  
  
I know, I know. It won't when we fit it with the water shield.  
  
BRUCE  
  
We'll see.  
  
Bruce kicks his wetsuit to the side and dries his hair. Remarkably, his shirt and black pants underneath are both dry and unwrinkled.  
  
LIONEL  
  
Interesting use of space.  
  
Bruce looks up and feigns surprise at the sight of Lionel, despite having told his secretary to let Lionel into the office in the first place.  
  
BRUCE  
  
We all have our little hideouts. How do you like mine?  
  
LIONEL  
  
Had I known you designed your offices like hotels, I would have brought a bigger briefcase to steal the bathroom soaps.  
  
Bruce hangs his towel on Fox's shoulder and walks over to meet Lionel.  
  
BRUCE  
  
If you'd like, I can have a case sent to you in Metropolis.  
  
LIONEL  
  
That won't be necessary.  
  
Lionel motions towards the "jet ski".  
  
LIONEL  
  
Nice toy, by the way.  
  
BRUCE  
  
Patent pending.  
  
LIONEL  
  
Of course.  
  
BRUCE So, Lionel, what can I do for you?  
  
Bruce smiles and escorts Lionel back to the office.  
  
LIONEL  
  
It's what I can do for you that's the issue.  
  
Lucius Fox shakes his head as Bruce closes the door behind them.  
  
INT. WAYNE ENTERPRISES – BRUCE'S OFFICE  
  
Bruce and Lionel step back into the office and Bruce sits down behind the desk. Lionel sits across from him.  
  
BRUCE  
  
And why would you, of all people, want to do anything for me?  
  
LIONEL  
  
Call it a friendly gesture of good will between associates. There's been too much bad blood between our two companies. I'm here to quell any animosity that might still exist between us.  
  
BRUCE  
  
I don't know what you mean, Lionel. I've always liked you.  
  
He lied.  
  
LIONEL And, in appreciation of that, I wish to return the favor by offering you a unique business opportunity.  
  
BRUCE  
  
Unique in what way?  
  
LIONEL I want to buy back Tenshi.  
  
BRUCE  
  
You want to buy back Tenshi?  
  
LIONEL  
  
Immediately.  
  
Bruce takes a moment to let the proposal sink in.  
  
BRUCE  
  
I have to say, this comes as somewhat of a shock. I'm not sure what to say. Tenshi hasn't made money in years. The industrial marketplace has suffered a severe decline and Wayne Enterprises has all but monopolized every profitable venture that's surfaced in Gotham City over the past decade. That's the only reason Tenshi sold to you in the first place, because we've been wiping the floor with him. Since the buyout, from what I'm told, LexCorp took on no new contacts and allowed most of the old one's, that transferred over in the sale, to expire. Tenshi is a financial abyss.  
  
LIONEL  
  
::shakes head:: LuthorCorp considers Tenshi a valuable asset, one that will further ensure the growth and development of LuthorCorp for years to come. I believe you, and my son, have grossly underestimated its worth.  
  
BRUCE  
  
That's entirely possible, but, if that's the case, why would I want to give it back?  
  
LIONEL I am prepared to offer you twice what you paid my son for it.  
  
BRUCE  
  
Twice?  
  
Lionel nods and opens up his briefcase. He pulls out a thin bound packet of papers.  
  
LIONEL  
  
I've already had the contracts made up. All you have to do is sign on the dotted line.  
  
BRUCE  
  
Now, where have I heard that before?  
  
Lionel hands the papers across the desk to Bruce, who inspects them.  
  
BRUCE  
  
Free money.  
  
LIONEL  
  
I beg your pardon?  
  
BRUCE  
  
I buy from Lex and sell to you for twice the price. It's free money.  
  
LIONEL I prefer to call it a rare opportunity.  
  
Bruce rests the contracts on his desk, giving his complete attention to Lionel.  
  
BRUCE  
  
As a businessman, it's hard to deny the intrinsic allure in your proposal. Of course, it's also hard to deny the fact that I suddenly find myself in a rather unique position. I know why Lex sold Tenshi to me. In doing so, he shed himself of a debt and managed to turn it into a profit. I know why Tenshi is valuable to me. By purchasing it from Lex, I drove one of my few remaining competitors completely out of Gotham and now have absolute supremacy over my chief market of operations. The problem is, I do not know why Tenshi is valuable to you.  
  
Bruce tries to get a read off Lionel, but the man merely smiles back at him with a well practiced grin.  
  
BRUCE  
  
If I didn't know any better, I'd think you were hiding something down there.  
  
LIONEL  
  
::shakes head:: No, it's not that at all.  
  
BRUCE  
  
Then, why offer me so much for so little?  
  
LIONEL LuthorCorp simply has an inherent interest in our current project at Tenshi. If we were to have to dismantle it, and move to another facility, it would be... inconvenient.  
  
BRUCE  
  
And what is that project exactly?  
  
Lionel simply smiles.  
  
BRUCE  
  
Trade secret?  
  
LIONEL  
  
We are competitors after all.  
  
BRUCE What ever happened to a gesture of good will between associates?  
  
LIONEL My gesture of good will is in offering you this contract at all. I could always contest the deal you have with LexCorp.  
  
BRUCE  
  
::shakes head:: You have no grounds for doing that.  
  
LIONEL As you are already aware, LexCorp is merely a subsidiary of LuthorCorp. My son did not have the proper authority to sell to you in the first place.  
  
BRUCE  
  
His was name was on the contracts purchased from Tenshi. He had all the authority he needed.  
  
LIONEL An issue for the courts to decide.  
  
BRUCE  
  
You'll lose.  
  
LIONEL  
  
Possibly, but it will undoubtedly tie up the matter for several years in a long, grueling, court battle that I don't think either of us really cares to deal with at this stage and, in that time, the contracts would be rendered temporarily void and ownership would resort back to me.  
  
BRUCE  
  
::nods:: Just long enough for you to milk it for what little it's worth, and then drive it into the ground.  
  
Lionel leans comfortably back into his chair. Bruce exhales loudly.  
  
BRUCE  
  
What are you hiding down there?  
  
LIONEL  
  
You'll never know.  
  
The two stare each other down a moment, sizing up each other's position.  
  
LIONEL  
  
My offer stands, but it is a one time offer only. Reject it now and it's gone for good.  
  
BRUCE  
  
It would take you time to get an injunction. You want to keep your little development under wraps, it's going to cost you. I will accept nothing less than four times what I bought it for. Wayne Enterprises will retain exclusive rights to all of Tenshi's active contracts and you will give your personal, and written, assurance that you won't contest the shutting down of the LexCorp plant in Smallville.  
  
Lionel nods and stands up, perhaps a little too quickly.  
  
LIONEL  
  
Done.  
  
He grabs the contracts off of Bruce's desk.  
  
LIONEL  
  
I'll have the new contracts made up and on your desk by the end of the day.  
  
Bruce stands to shake Lionel's hand, but Lionel turns away and walks toward the door.  
  
LIONEL  
  
It's been a pleasure doing business with you, Mr. Wayne.  
  
Bruce eyes Lionel and sits back down.  
  
BRUCE  
  
Where have I heard that before?  
  
Taking a breath, he removes a cell phone from his shirt pocket and dials, reclining in his chair as he waits for the other end to pick up.  
  
BRUCE  
  
Yeah, it's Wayne.  
  
He listens to the other end.  
  
BRUCE  
  
He just left... Just as you said he would... Right... He's all yours now.  
  
Bruce folds up the cell phone and places it on the desk in front of him.  
  
EXT. LUTHORCORP PRIVATE AIRLINES – DAY  
  
Lex folds up his cell phone and puts it in his suit pocket. Smiling arrogantly, he walks over to Marrienne and a pair of FBI agents all hovering over a piece of debris pulled from the crumbled remains of the airport.  
  
FBI AGENT I I've never seen anything like this before.  
  
MARRIENNE  
  
I checked with General Lester. The Army has this place classified as a research facility.  
  
FBI AGENT II  
  
Research? We've found hundreds of these things, whatever they are. They had a whole damned assembly line down there.  
  
MARRIENNE  
  
If that's the case, the military doesn't know anything about it.  
  
LEX  
  
As I told you they wouldn't.  
  
MARRIENNE  
  
We have all we need now to move on your father.  
  
LEX  
  
No, not yet. There's a lot more going on here than you people realize.  
  
MARRIENNE  
  
You listen to me, Luthor, there's a lot of questions I want answers too.  
  
LEX  
  
Then, it's lucky for you, I have the answers.  
  
MARRIENNE  
  
I am not a patient woman, Lex Luthor.  
  
LEX  
  
And I am not a patient man. Just have the amount we agreed on wired to my account by the end of the day, and tell General Lester to have your boys at Fort Riley ready. Tomorrow is going to be a very big day. 


	12. Ascension Part 12

EXT. KENT FARM – NIGHT  
  
A gentle breeze of night air slips between Clark's and Chloe's lips as they separate from a kiss. Caressing her cheek, he wipes a tear from her face.  
  
CLARK  
  
Hey, what is it? What's wrong?  
  
She chokes, relishing in the opportunity to look away afforded her by the clanging wind chimes hanging from the porch.  
  
CHLOE Nothing, I'm just...  
  
She backs away from him, a baby step, pressing the back of her legs up against the chrome of her car.  
  
CHLOE I just realized how much I'm going to miss this, that's all.  
  
He shifts his weight, moving closer to her without taking a step. Smiling, she lays her hand on his chest and lets it rest there a moment.  
  
CHLOE  
  
I waited so long, waited for you...  
  
She wipes a tear from her eye and tries to laugh it off.  
  
CHLOE  
  
Well, it would take the world coming to an end, wouldn't it? Now, that's irony.  
  
CLARK  
  
You need to go with your father, Chloe.  
  
CHLOE  
  
I know, I know. I just... I just think about all those incredible things you can do, and are going to do, and I wonder.  
  
CLARK  
  
Wonder what?  
  
She rolls her eyes... at herself.  
  
CHLOE  
  
It's no big secret that, for a large portion of my adolescence, my entire world revolved around Clark Kent. Now, I realize it really does. The only real difference now is that it's not just my world anymore.  
  
She looks up at him, blinking once, taking a picture of him with her eyes, one that she'll hold with her for the rest of her life.  
  
CHLOE  
  
You're just so amazing. I just want you to know that you were my hero before you were ever a superhero.  
  
She hops up, wrapping her arms around his neck and pulling him down, kissing him passionately. After several seconds, she all at once releases him and turns, opening the car door and getting inside. From behind her, Clark's knees buckle slightly underneath him.  
  
CLARK ::under breath:: Wow.  
  
She shuts the car door and puts the keys in the ignition, but doesn't turn the car on.  
  
CHLOE  
  
You're going to be around tomorrow?  
  
CLARK ::nods:: Yeah.  
  
CHLOE  
  
I'm probably going to be packing all day, but I'll see you at the fundraiser, right?  
  
Clark looks confused.  
  
CHLOE  
  
You didn't forget, did you?  
  
CLARK  
  
No, no I didn't forget.  
  
He lied.  
  
CHLOE  
  
Stick to the truth, Clark Kent. You're a terrible liar.  
  
CLARK  
  
I guess it slipped my mind. Can you blame me?  
  
CHLOE  
  
Well, I've really been looking forward to seeing what you and Pete have prepared. I'm sure it will steal the show, dazzle, and amaze.  
  
He nods, looking unconvinced.  
  
CHLOE We're leaving for Gotham pretty much right after. We'll be driving. It'll be a long trip by U-Haul, but I figure at least we'll be on the ground.  
  
Clark nods.  
  
CHLOE  
  
I'm going to miss you, Clark Kent.  
  
CLARK  
  
I'm going to miss you too, Chloe Sullivan.  
  
She starts the car.  
  
CHLOE  
  
You know, you don't have to be a stranger. Pete tells me you're pretty fast. There's no excuse for not visiting me.  
  
He nods to her.  
  
CHLOE  
  
And I'll write, too. You just have to make sure you let me know where you end up so I know where to send my letters too.  
  
CLARK  
  
Letters? That reminds me...  
  
Clark reaches into his pocket and pulls out a folded piece of paper. He hands it to her. She recognizes it immediately.  
  
CLARK It's the letter you wrote me before running away to Metropolis.  
  
CHLOE  
  
You kept this?  
  
CLARK  
  
I figured you might want it back.  
  
She reads it over again to herself, focusing in on a small section at the end that reads; "I fell in love with you, Clark Kent, and I knew that I would never love anyone the same way again."  
  
The words are as true to her now, staring up at him, as they were when she wrote them.  
  
CHLOE  
  
No, this is yours.  
  
She hands it back to him and drives away.  
  
Folding it back up, he holds it in his hand, watching Chloe's car until it fully disappears down the other end of the driveway. Turning back toward the house, he looks up to see the light in his mother's room still lit.  
  
He heads back inside. 


	13. Ascension Part 13

INT. KENT HOUSE – MARTHA'S BEDROOM  
  
Sheer drapes flutter back from the window as the cool night breeze penetrates inward. Martha sits in an old rocker in the corner of the room, an open photo album across her lap, her eyes closed.  
  
Clark knocks softly at the open door and steps inside.  
  
CLARK  
  
Mom?  
  
Seeing her asleep in the chair, he walks over to the bed and pulls a red blanket from underneath it. Picking up the photo album, he gently replaces it with the blanket, tucking it softly under her arms. Shutting the window, he is drawn to the open page of photos and sits on the bed to reminisce on the memories it offers him.  
  
Themed in a sort of before and after motif, each page shows dual photographs of the Kent family in similar situations. One page shows a young Martha and Jonathan on a picnic together while the photograph next to it shows them slightly older with a young Clark. The second page shows Jonathan sitting behind Martha on a tractor out in the field with the corresponding after photo showing Jonathan and Clark in the same positioning with Martha looking on.  
  
MARTHA  
  
He loved you, you know.  
  
Clark looks up at her.  
  
CLARK  
  
I know. I loved him too.  
  
Clark motions to the pictures.  
  
CLARK  
  
I've never seen these before.  
  
Martha gets up out of the chair, wrapping the blanket around herself, and sits next to him on the bed.  
  
MARTHA  
  
They were your father's idea. He put this together.  
  
CLARK  
  
He did?  
  
MARTHA  
  
Your father liked to look all tough and rugged, but he was really a sentimental baby.  
  
Clark laughs.  
  
MARTHA  
  
Actually, he had already finished the first part of the album, before you came to us I mean. He got the idea into his head after looking through one of your grandmother's old photo albums. He was a family man. That was his goal in life. He wanted to run the farm, and have eight kids...  
  
CLARK ::laughs:: Eight?  
  
MARTHA  
  
... all boys, so he wouldn't have to do any of the work. Actually, I shouldn't say that. He wanted one girl, at the very end. He wanted a girl because he had promised his mother when he was just a little boy that he would have a girl and name it after her.  
  
CLARK  
  
Nine kids?!  
  
MARTHA  
  
::nods:: Nine kids. Your father was an animal.  
  
Clark cringes.  
  
CLARK  
  
Mom, that's gross.  
  
MARTHA  
  
There was actually a time, for a while there, that I thought he might leave me.  
  
Clark looks up in shock.  
  
MARTHA  
  
After we had been trying for a while, and we realized that I could never...  
  
She gets a little choked up.  
  
MARTHA  
  
I knew he loved me, but I also knew how important it was to him that he have a family. I just didn't want to take that away from him. So, I ran away. It was the hardest decision I'd ever made in my life, but I did it for him. He was still a young man, not to mention gorgeous, certainly the most handsome man I'd ever met. He still had time to remarry, and have his dream of a nice big family.  
  
She looks at Clark.  
  
MARTHA  
  
That's what you do when you love someone. You start doing what's best for them and not what's best for you. You even start thinking that maybe you know what's best for them and they don't.  
  
CLARK  
  
What happened?  
  
MARTHA  
  
I didn't even make it to the end of the driveway.  
  
CLARK  
  
You couldn't go through with it?  
  
MARTHA  
  
No, your father almost ran me over with the truck.  
  
CLARK  
  
What?  
  
MARTHA He threatened to run me over to keep me from leaving. He wasn't serious, of course...  
  
She shrugs.  
  
MARTHA  
  
Or maybe he was, I don't know. He told me that he didn't care that I couldn't have a child with him, that it didn't matter to him one way or the other because what he really wanted most in life was a family... and he couldn't have that without the woman that he loved most in his life.  
  
She smiles, half-crying, half blushing all over again.  
  
MARTHA  
  
"Family," he told me, "is about the love that you share, not about how many people you share it with." That was the first time we ever really sat down and considered adopting. "It's not about blood," he said. "It's about love and family." And then you came along.  
  
She smiles at Clark and runs her hand through his hair, like he was a little boy again.  
  
MARTHA  
  
Your father was a good man. He was a God fearing man. He went to church. He believed with all of his heart that God put him on this Earth for a very specific reason; to be a good man, a good husband, and a good father.  
  
CLARK  
  
::nods:: All of the above.  
  
MARTHA  
  
Yes, he was. And he taught me that I was put on this Earth to be a proud woman, a good wife, and good mother.  
  
CLARK  
  
And you are.  
  
MARTHA  
  
I try. I try to be, but sometimes I'm not so sure. Sometimes, I can't help but feel selfish. I sit here looking at these pictures, and I sat at that sewing machine all day, working on your suit, and I...  
  
She balls her fists together and punches down on the bed at her sides.  
  
MARTHA  
  
I want my husband back! I want my little boy back! I want my family back.  
  
CLARK  
  
Mom, I...  
  
MARTHA  
  
::shakes head:: No, no Clark. I promised your father, we promised each other that when the time came, we would let you go. We both knew that day would come. I just wasn't ready for it yet. I wasn't ready.  
  
She cries.  
  
MARTHA  
  
::crying:: This house is going to be so empty without you and your father.  
  
He hugs her.  
  
MARTHA  
  
::crying:: I'm sorry. I'm so sorry. I don't mean to lay this all on you. You have enough on your plate already.  
  
CLARK  
  
You don't have to be sorry, Mom. You never have to be sorry.  
  
MARTHA  
  
::crying:: I just want my family back. I know your place is out there. I just wish I knew what my place was.  
  
He holds her. 


	14. Ascension Part 14

EXT. KENT FARM – NIGHT  
  
The light to Martha's bedroom switches out.  
  
Satisfied, Clark looks out at the driveway and starts running.  
  
EXT. FIELD HILL – NIGHT  
  
Clark defiantly marches up the short hill toward the crumbled remains of the mysterious Trenton house.  
  
CLARK Fate!  
  
In a rage, Clark trudges through the rubble, tossing aside rotted walls and stone as effortlessly as if they were made of foam.  
  
CLARK I know you're here! I know you can hear me! You may be able to hide the portal, but I know it's still here.  
  
Angrily, he one-handedly lifts up a large section of rooftop and tosses it away like a Frisbee.  
  
CLARK  
  
Fate! Show yourself! Don't be a coward! I know you can hear...  
  
INT. SALEM TOWER  
  
Clark stands in the very center of the celestial floor, surrounded by a large circle of burning blue candles. Directly in front of Clark is a semi- circular row of steps, at the top of which sits an elaborate golden throne shrouded in shadow. A cloaked figure sits in the throne.  
  
Livid, Clark points up at the throne accusingly.  
  
CLARK You knew! You knew what was going to happen to my father and you did nothing!  
  
The mysterious figure says nothing.  
  
CLARK You didn't tell me! You didn't warn me! You didn't try to help him, try to save him! Why?! Why did you do nothing?! Why did you let him die?!  
  
Still, the mysterious cloaked figure remains silent.  
  
Angrily, Clark waits no longer for a response, furiously marching up the marble stairs.  
  
CLARK  
  
Fate! Answer me!  
  
Clark grabs the figure by the arms and pulls them into the light, but is surprised by the tearful eyes he finds staring back at him.  
  
CLARK Lana?  
  
LANA  
  
I'm sorry, Clark. I'm so sorry. I didn't want it to happen. I didn't want him to die.  
  
He looks at her with sorrow and pity, but turns away in equal disgust.  
  
CLARK  
  
If that's true, why didn't you try and stop it? Why didn't you tell me what Darkseid was planning?  
  
LANA  
  
I couldn't. I couldn't interfere with the prophecy.  
  
He turns back around to face her.  
  
CLARK  
  
To hell with the prophecy! To hell with destiny if it means standing around and doing nothing while watching innocent people get murdered! You had a choice.  
  
LANA  
  
I wanted to tell you, Clark. You have to believe me.  
  
CLARK  
  
Why should I? Why should I believe someone who would place more importance on some occult omen than she does on a man's life?! You should have told me. I could have saved him.  
  
LANA  
  
No... No, I couldn't.  
  
CLARK  
  
Why not?!  
  
LANA  
  
Because he told me not too!  
  
It takes several seconds of stunned silence for the revelation to sink in before Clark can manage any kind of response.  
  
LANA  
  
He told me not too.  
  
CLARK  
  
You mean he knew?  
  
She nods.  
  
CLARK  
  
But... how can that...  
  
LANA  
  
I told him. I read to him from the Book of the New Gods.  
  
CLARK  
  
You can read from the book?  
  
She shrugs sorrowfully.  
  
CLARK  
  
The scream...  
  
LANA  
  
::nods:: It left a piece of itself inside of me. I didn't understand it at first. I didn't know what was happening. I was having these dreams, about this place, about other worlds. It was like they were memories, but they weren't mine. That was how I came here. That was how I found Doctor Fate.  
  
She moves passed him and walks down the steps. He turns and walks with her.  
  
LANA  
  
He helped me to get rid of what was left behind of the scream, but the memories were still there. Everything it knew, I knew. Then, I knew I couldn't go back. Knowing what I knew was going to happen, seeing the prophecies being fulfilled one after another, how could I just go back?  
  
She stops in the center of the celestial floor.  
  
LANA  
  
I knew what was going to happen. I knew how the world was going to change, but it was all happening just so fast. That's why I pushed Pete. I thought if you saved him, the prophecy would be fulfilled. I didn't realize... I didn't know it was Chloe.  
  
CLARK  
  
Why did you kidnap him if you wanted the prophecy to be fulfilled?  
  
LANA  
  
There is an order to everything. You cannot have one without the other. I knew if Darkseid had killed your father before you saved the one from the sky, the prophecy would be broken.  
  
CLARK  
  
But that isn't saving him. That's just buying time!  
  
LANA At first... but, then I realized I could never buy enough time. I tried to convince myself that I was just doing my part, that the prophecy had to be fulfilled. There was more at stake than just one man's life, but the more I thought about it, the more I knew... I couldn't just let him die, at least, not without him knowing. I didn't want him to think of me that way.  
  
She talks through the tears, pleading with Clark for his understanding.  
  
LANA  
  
I loved Mr. Kent. I love Mrs. Kent. I love your whole family, Clark. I love you. You don't know how lucky you are to have had them, to have had a real family like that. When my parents died, I lost the chance to ever have that, to ever have parents that really loved me, unconditionally, and who cared me like they care about you.  
  
CLARK  
  
Nell...  
  
LANA  
  
Nell loved me like an Aunt, but I wasn't her child. Would she have just left me and ran off to Metropolis if she did? Would your parents have done that? Would they have left you behind?  
  
Clark doesn't bother stating the obvious.  
  
LANA  
  
She took care of me, but I was never a daughter to her and she was never a mother to me. The truth is, over the years, your family has been more like family to me. How many times have they been there for me; your mother, your father, and you? That's why, I couldn't let him die, but more I couldn't let him think that I was some kind of monster. I had to make sure that he understood. I just wanted him to... I didn't want him to stop loving me.  
  
She pauses a moment to allow herself to cry before recomposing herself.  
  
LANA  
  
So, I read it to him.  
  
She turns away from Clark and takes a few steps, walking outside the circle of blue candles. Magically, the blue light follows her into the shadows, extending onto a small pedestal where an ancient book lies open. She reads from it.  
  
LANA  
  
So, the Evil One struck at where El's heart was most weak, where the pain would be at its greatest. The deliverer was entrusted to slaves and would set forth to free them. The Evil One would make each of them pay a price for that freedom. He would not be able to destroy the savior, but he could hurt him... by destroying the slave.  
  
She turns back around, again crying, to face Clark.  
  
LANA  
  
He understood. I didn't think he would, but he did.  
  
CLARK  
  
He believed in the prophecy?  
  
LANA  
  
He believed in you. He knew that you were special. He knew you were bound, that you were destined to do great things. He believed that his son would be a great man... and he was willing to do anything for you... even if it meant giving up his own life.  
  
Clark stands in front of her well short of the Man of Steel he will one day become, tears streaming down both sides of his face.  
  
LANA He was a great man.  
  
Clark nods, fighting back the tears.  
  
CLARK  
  
He was a super-man.  
  
Clark wipes the tears from his eyes, when something out of the shadows catches his attention.  
  
CLARK  
  
Lana...  
  
He tries to warn her, but she remains calm as several cat-like creatures step into the light from behind her; the Shadow-Els.  
  
LANA  
  
They call themselves the Shadow-Els, after you. They fled their planet when Darkseid attacked. They've been searching the galaxy for the "blue light" that will protect them.  
  
CLARK  
  
The candles...  
  
Clark observes the timid creatures with scientific meticulousness. One of them looks up at Lana and speaks.  
  
SHADOW-EL The creature is coming. We can feel him.  
  
LANA  
  
Shh... It's all right. The blue light will protect you.  
  
She looks up at Clark as she soothingly pets the Shadow-El.  
  
LANA  
  
The blue light will protect us all.  
  
CLARK What makes you so sure? I'm supposed to win. That's not a guarantee I'll be able to protect everyone, or anyone.  
  
SHADOW-EL  
  
The blue light will save us.  
  
CLARK  
  
The blue light couldn't even save his own father. You might be better off fighting for yourself.  
  
Slowly, the lead Shadow-El walks, on all fours, further into the light. As it gets closer to Clark, it stands up on its hind legs as naturally as if it were a biped.  
  
SHADOW-EL  
  
I believe the El will save us.  
  
Lana steps up next to the Shadow-El.  
  
LANA  
  
And so do I... and so did your father.  
  
Not entirely convinced, Clark tries to paint the best air of confidence that he can. Reasonably satisfied, the Shadow-El returns to all fours and retreats back into the shadows with the rest of its pack. Following suit, Lana turns and walks after it, but Clark stops her.  
  
CLARK  
  
Lana...  
  
LANA  
  
Yes, Clark?  
  
CLARK  
  
Where will you go now?  
  
She shrugs unknowingly, sadly.  
  
LANA  
  
I have nowhere to go. I have no home. I have no family.  
  
She turns again to follow the Shadow-Els, but again Clark stops her.  
  
CLARK  
  
Lana... I think I have a better idea.  
  
She looks back at him, wondering what it might be.  
  
EXT. KENT HOUSE – KITCHEN  
  
Clutching a picture of Jonathan in her left hand, Martha Kent reaches for the refrigerator, heavy bags under her eyes from crying and not sleeping. She pulls out the carton of milk and pours herself a glass.  
  
The front door opens, startling her.  
  
MARTHA  
  
Clark?  
  
Martha turns around to find Clark standing in the doorway, his arm wrapped around Lana. 


	15. Ascension Part 15

EXT. KENT FARM – DAY  
  
Pete hides a toothy grin, keeping his lips shut to avoid swallowing dirt from the dust cloud he kicked up by skidding to a halt in his car seconds earlier. He laughs, tapping the Blockbuster tape against his leg before running up the porch steps.  
  
INT. KENT HOUSE – KITCHEN  
  
Pete explodes through the front door, nearly knocking Martha over on her way to the coffee pot.  
  
PETE  
  
Yo, Clark, my man! Where you a-AAAAT!!!  
  
Pete's legs slip out from under him at the sight of Lana Lang sitting with Clark at the kitchen table, enjoying breakfast. Clark quickly stands and rushes to help Pete up off the floor.  
  
CLARK  
  
Pete, it's okay!  
  
Unconvinced, Pete very consciously backs his way back to the door.  
  
PETE  
  
What's she doing here!?  
  
At the table, Lana sadly hangs her head. She doesn't look at him, opting instead to stare straight ahead.  
  
CLARK  
  
It's okay, Pete. Everything's all right.  
  
PETE  
  
All right? All right!? She shotput my ass out a window, Clark! That is not all right! That is leaps and bounds from all right!  
  
CLARK  
  
She was suffering from the affects of the scream. She isn't anymore. She's all right now. She's not going to hurt you.  
  
Pete calms himself, peeking over at Lana from around Clark's shoulder.  
  
PETE  
  
Yeah? Well, maybe I'm gonna hurt her.  
  
Clark catches Pete mid-lunge, holding him back.  
  
PETE  
  
Let me go, Clark. Don't make me lay the smack down on you too.  
  
CLARK  
  
Pete...  
  
LANA  
  
::softly:: I'm sorry.  
  
Pete stops struggling and Clark tentatively releases him. They each look over at Lana.  
  
PETE  
  
You're sorry?!  
  
LANA  
  
::softly:: I didn't mean to hurt you.  
  
She still doesn't look at him. She stares straight ahead.  
  
Pete obviously wants to be angry at her, gritting his teeth to try and keep from caving. Clark offers him a dirty look, a not so subtle piece of advice to forgive and forget. Hesitantly, rolling his eyes, Pete steps passed Clark and sits down, dropping the video loudly on the table so as to startle her. She jumps a little in the chair.  
  
He glares angrily at her from the side. Swallowing the lump in her throat, she steals a quick peak at him from the corner of her eye, gauging his glower. Finally, he huffs and leans back in the chair, arms folded across his chest.  
  
LANA  
  
I'm really sorry, Pete.  
  
Gathering up the courage, she turns in her chair to face him.  
  
LANA  
  
If there's anything I can do to make it up to you, to prove how sorry I am...  
  
He thinks for a while, letting her stew. Sitting up, now it's his turn to stare straight ahead.  
  
PETE  
  
::shrugs:: Pete likes the sugar.  
  
A smile creeps its way onto Lana's face. Relieved, she leans over to him and gives him a quick peck on the cheek.  
  
Clark and Martha smile, enjoying watching the two friends reconcile, and seeing Pete blush.  
  
PETE  
  
Actually, I was talking about your Pop-Tart... but that works too.  
  
LANA  
  
::laughs:: Then, you forgive me?  
  
He hesitates, but looking at her he can't help but smile.  
  
PETE ::shakes head:: Aaaah... I can't stay mad at that face.  
  
Now, she blushes.  
  
Seizing the opportunity, he swipes the Pop-Tart off her plate.  
  
PETE  
  
But I'm still taking your Pop-Tart.  
  
He takes a bite, getting crumbs all over the table. She looks generally sad that he took it.  
  
PETE  
  
::mouth full:: And your milk.  
  
He steals her milk and takes a large gulp, wiping away his milk mustache with his hand.  
  
Martha shakes her head and sits down at the table with her coffee. She slides the napkin holder across the table to Pete.  
  
MARTHA  
  
Peter Ross, you use a napkin in my house.  
  
PETE  
  
Yes, Mrs. Kent. Sorry, Mrs. Kent.  
  
Clark picks the tape up off the table, sitting down next to Lana, across from Pete.  
  
CLARK  
  
What's this?  
  
He shows the tape to Pete.  
  
PETE  
  
That's our act for the talent show tonight. Study up, my boy, 'cause I don't want to have to carry you...  
  
He elbows Lana.  
  
PETE ...like always.  
  
Clark and Lana each roll their eyes.  
  
CLARK Pete... about the talent show...  
  
Anticipating Clark's direction...  
  
PETE  
  
::shakes head:: No, nuh uh. Don't you back out on me.  
  
CLARK  
  
I'm not backing out. It's just...  
  
PETE ::shakes head:: Don't say it. Don't even say it. I don't want to hear it.  
  
CLARK It's just that with all that's been going on, do you really think this is the kind of thing we should be doing?  
  
PETE  
  
Yes! It's exactly the kind of thing we should be doing. We need this. I need this. You need this.  
  
CLARK I just can't help but feel there are more important things I should be doing.  
  
PETE  
  
Like what?  
  
CLARK  
  
Like going after Darkseid.  
  
LANA  
  
No!  
  
Everyone looks over at Lana after her very sudden, very fervent, objection. She sinks in her seat.  
  
LANA  
  
It isn't time yet.  
  
Pete looks at Clark, who seems slightly less confused than he. Pete circles his hand in the air.  
  
PETE  
  
Fill me in.  
  
Clark looks at Lana.  
  
CLARK  
  
The prophecy again?  
  
She simply nods.  
  
PETE  
  
She knows about the prophecy? How much did you tell her?  
  
CLARK  
  
I didn't have to tell her anything.  
  
PETE  
  
Oh.  
  
Ever the concerned mother, Martha speaks up.  
  
MARTHA  
  
Lana, what do you know?  
  
Lana looks up at each of them, but settles her gaze upon Clark.  
  
LANA  
  
Just that, you're not ready yet. You're not ready to face him.  
  
Clark shakes his head, frustrated.  
  
PETE  
  
You wanna be a little more specific, for those of us who aren't privy to the inner workings of the universe?  
  
LANA You haven't reached the time of ascension yet. You can't face him until you do.  
  
MARTHA  
  
What exactly is the time of ascension?  
  
CLARK  
  
I'm not gonna fly, am I?  
  
He said it only in passing, sarcastically. Lana's silence, though, makes him think twice.  
  
CLARK  
  
Am I?  
  
LANA  
  
::shakes head:: I don't know. I don't know what it means.  
  
PETE  
  
Then, how do you know it hasn't happened yet?  
  
LANA  
  
I just do. All things must be complete. "The old shall pass away. He sheds his skin and a new man will be born, the path ended, a new beginning. It is the time of ascension."  
  
Pete raises an eyebrow, eyes wide. Looking down at the Pop-Tart in his hand, and the glass of milk, he leans back in the chair.  
  
PETE  
  
Okaaaay...  
  
Pete pushes the Pop-Tart and glass of milk back across the table to Lana.  
  
PETE  
  
Well, that's pretty freaked out, right there. Don't be needin' any more of that.  
  
He motions to Clark.  
  
PETE See, but this is what I'm talking about. All this stuff about alien invaders, prophecies, Armageddon, it's bad vibes. We need to just get away from it for a night.  
  
CLARK  
  
I'm up for a vacation.  
  
MARTHA  
  
That makes two of us.  
  
LANA  
  
Three.  
  
PETE  
  
Ya see what I mean?  
  
Pete gets serious.  
  
PETE  
  
Look, man, when was the last time we really did anything fun? I know I can't remember. Say what you want about Smallville, it hasn't been boring growing up here, a new freak born every week to terrorize and wreak havoc on the population. Between your powers, and everything else, I don't know about you, but I've kind of missed just having fun.  
  
Clark nods, understanding perfectly, as does Lana.  
  
PETE  
  
Now, my guess is there's not gonna be much time for it coming up. So, what do you say? Let's just be kids for one last night.  
  
Lana breathes in, and exhales soothingly.  
  
LANA  
  
I like the sound of that.  
  
MARTHA  
  
I think it'd be good for you, Clark.  
  
Clark looks at the tape and then back at Pete. He smiles. 


	16. Ascension Part 16

EXT. LUTHORCORP BUILDING – DAY  
  
The sun reflects brightly off of the glass sides of the LuthorCorp building, forcing Lionel to shield his eyes as he makes his way from the limousine to the entranceway.  
  
INT. LUTHORCORP BUILDING – LOBBY  
  
Lionel heads straight for the elevator, not even bothering to look up at the receptionist waving him down from behind the front greeting counter. Finally, before it's too late, she stands and speaks up.  
  
RECEPTIONIST  
  
Mr. Luthor...  
  
He doesn't bother stopping, merely picks up his head.  
  
LIONEL  
  
Yes?  
  
RECEPTIONIST Your son is waiting for you in your office, sir.  
  
LIONEL  
  
::confused:: My son?  
  
RECEPTIONIST  
  
Yes, sir.  
  
Thinking a moment, he nods to her.  
  
LIONEL Thank you.  
  
Lionel heads for the elevator.  
  
INT. LUTHORCORP BUILDING – TOP FLOOR  
  
Lionel steps out of the elevator and walks to the office door at the end of the hall. Reaching out for the door handle, he notices the nameplate reads "Lex Luthor" and not Lionel.  
  
He steps inside.  
  
INT. LUTHORCORP BUILDING – OFFICE  
  
Lionel storms into the office, finding it completely redecorated with many familiar items from the mansion, including Lex's desk. The window blinds are all open, allowing an optimal amount of sunlight into the room. Lex sits at his desk, his back to Lionel, staring out of the huge glass windows at the city skyline.  
  
LEX  
  
You know, I've been in this office a thousand times and I've never really ever taken the time to just look out at the city. It really is a magnificent view, an invigorating feeling...  
  
Lex pivots in the chair. He's dressed in an all black suit, a white rose pinned to the pocket.  
  
LEX ... Rather like the Gods, staring down from atop Mount Olympus.  
  
Lionel takes a few steps closer to the desk, but stops short of the chairs lined up opposite Lex.  
  
LIONEL  
  
Taken it upon yourself to do a little redecorating? If you need a place to stay, there's an excellent little hotel down the street. I could put in a call, have you setup in the presidential suite... for as long as you like.  
  
LEX  
  
That won't be necessary.  
  
LIONEL  
  
I thought I told you to stay in Smallville.  
  
LEX  
  
You've told me a lot of things over the years, Dad. I simply utilized my extensive experience in the matter to interpret what you meant, to read between the lines.  
  
LIONEL  
  
And from that you somehow deciphered that I was inviting you to take over my office?  
  
LEX  
  
Not just your office... your entire company.  
  
Lionel slowly, deliberately, takes a seat across from Lex.  
  
LIONEL  
  
You have very selective hearing, my son, not to mention an exceptionally vigorous imagination.  
  
LEX  
  
Oh, don't worry. I refuse to delude myself into thinking that it was out of anything I did. You simply... made a mistake.  
  
LIONEL  
  
And what would that be?  
  
LEX  
  
You made one enemy too many, and you allowed your personal feelings to interfere with business. What is it you always used to tell me? Business is war, and all is fair in love and war. The problem comes, as I have learned so well, when you make enemies in both. That's why it is imperative that you keep them separate or you'll be fighting a war on all fronts.  
  
LIONEL  
  
I trust there is a point to this lecture?  
  
LEX  
  
There is a point... and her name is Martha.  
  
LIONEL  
  
Martha Kent? What does she have to do with any of this?  
  
LEX  
  
The night of the black out, I came home to find that the mansion had been ransacked by a... creature, the likes of which is normally reserved for children's tales and ancient mythology. It tore apart my office and killed one of my security guards, more accurately mutilated him. Yet, after surveying the house, I found Martha Kent in the bedroom completely unharmed. When she awoke, she had no idea how she had gotten there. She had only just been in a car accident, miles away, with the Sheriff and her husband who, incidentally, both wound up missing. Now, of course, Jonathan Kent has been found, murdered, and the Sheriff's whereabouts remain a mystery.  
  
LIONEL  
  
If I didn't know any better I'd say you were accusing me of something.  
  
LEX  
  
Then, of course, there was my second encounter with the creature. How did you get out of that lab, by the way?  
  
LIONEL  
  
Lieutenant Shull is a very resourceful man.  
  
LEX  
  
As you have proven yourself to be as well. Of course, it was you who invited Shull to the lab in the first place, and it was his guard that turned out to be the creature in disguise.  
  
LIONEL  
  
You think that Lieutenant Shull had something to do with all of this?  
  
LEX  
  
I think that whatever that thing was, Shull knew about it, and so did you.  
  
LIONEL  
  
An ignorant conclusion, if not naïve. That creature was quite obviously an alien spy. I already told you, there is a war brewing...  
  
LEX  
  
Yes, that's right, I almost forgot about the alien invaders come to enslave the planet with you valiantly coming to Earth's rescue to form the first and last line of defense. It's truly an inspiring tale of bravado and intrigue, but I have a better explanation.  
  
LIONEL  
  
Oh, I am simply replete with anticipation.  
  
LEX  
  
You knew about that creature because you've been conspiring with the enemy all along. I believe that the reason it left Martha Kent unharmed was because you told it too.  
  
LIONEL  
  
The surrogate mother to our enemy? Even if there was an inkling of truth to this convoluted theory of yours, why would I do that?  
  
LEX  
  
Because you fell in love with her.  
  
LIONEL ::laughs:: Well, bravo! You certainly have figured it all out, then, haven't you? Yes, it's true. Oh, I admit to everything. I conspired with extraterrestrials to murder Jonathan Kent, a farmer, in hopes of stealing away with his widow and starting a torrid love affair with the enchanting Martha Kent. Congratulations, Lex, you've gone straight from fairytale to soap opera, and not a very good one at that.  
  
LEX  
  
You two worked very closely together when she was your assistant. Oh, I'm sure it started out innocent enough, with you furtively doing your best to pry information out of her about her son's secret, about Clark, but then something happened, something you didn't expect. Maybe it was one day when the two of you were sitting out in the sun, she was reading to you from the Economy page of the latest issue of the Daily Planet...  
  
Lex smiles derisively.  
  
LEX  
  
... You were "blind" after all. A gentle breeze blew by and you caught a whiff of her perfume. The scent permeated throughout your nose, left it's imprint on your soul. She is an attractive woman, deserving of a virile man such as yourself. It had been a long time since you had been intimate with a woman.  
  
Lionel nearly explodes out of his chair.  
  
LIONEL  
  
Now, that's enough! How dare you talk to me that way! I am your father and you will show me the proper respect!  
  
LEX  
  
Back at the funeral, you offered her your help. It's not like you to offer charity to anyone.  
  
LIONEL  
  
I felt sorry for her.  
  
LEX  
  
For the mother of your enemy?  
  
Lionel is furious, but he is also caught in a lie. He sits back down.  
  
LEX  
  
She thought you were blind. I wonder, how many times did she catch you staring at her from behind those glasses?  
  
LIONEL  
  
This conversation is over. I want you out of my office.  
  
LEX  
  
It isn't your office anymore, or didn't you catch the name on the door?  
  
LIONEL  
  
I'm afraid you're going to have to do a lot more than switch a nameplate and come in here throwing around fanatical accusations about extramarital obsessions to supercede your old man, Lex.  
  
LEX  
  
Oh, it's already done. Really, I'm surprised you didn't know, though, admittedly elated at the opportunity to divulge the news to you in person.  
  
LIONEL  
  
What are you talking about?  
  
LEX  
  
I'm talking about your mistake. After putting two and two together about you and Martha Kent, it didn't take very long for me to realize you had been less than truthful to me back at the lab.  
  
LIONEL  
  
Everything I told you at the lab was true.  
  
Lex opens the top desk drawer and pulls out an envelope. Opening it up, he pulls the pictures Noah took at Tenshi out of the envelope and shows them to Lionel.  
  
LEX  
  
Except that you neglected to mention the part about your conspiring to produce weapons with Colonel Kalib, the very man that you claimed was an alien invader, along with Clark Kent, bent on taking over the world.  
  
Lionel looks at the pictures, his attention drawn specifically to the one with him, Shull, and Kalib all conversing.  
  
LIONEL  
  
Where did you get these?  
  
LEX  
  
That's not important. What is important is that the United States military has no record of any Colonel Kalib, or Lieutenant Shull, on record. I checked. It was easy enough to do, a simple background check, not a task a resourceful man, such as yourself, wouldn't be equally capable of undertaking.  
  
LIONEL  
  
You knew about Tenshi.  
  
It was a statement of fact, no longer in question.  
  
LEX  
  
Of course, I did, but Bruce Wayne did not, and neither did the world.  
  
LIONEL  
  
You sold Tenshi in hopes of exposing me. Once ownership resorted to Bruce Wayne, he would find the weapons.  
  
LEX  
  
::nods:: And being one of his chief competitors, there is nothing that would please Bruce Wayne more than to see you and LuthorCorp buried under the collective force of the world's governments coming down on you with international conspiracy charges.  
  
Despite the revelation, Lionel leans back in his chair rather comfortably, even smiling.  
  
LIONEL Well, unfortunately for you, that's not going to happen. Your plan was almost foolproof, Lex, but in case you haven't heard, as of late last night Tenshi is back to being the sole property of LuthorCorp. Neither you, nor Bruce Wayne, will ever see the inside of that building again.  
  
LEX  
  
And I'm sure that, just in case I decided to approach the authorities with these rather damning photographs, they would find nothing.  
  
LIONEL  
  
As we have discussed on so many occasions before, I am a very resourceful man.  
  
LEX  
  
But not quite as resourceful as you were, I'm afraid. You see, I knew that you would stop at nothing to keep Bruce Wayne from taking over ownership of Tenshi. You couldn't risk him finding out about your little pet project. That's why you went to him late last night in an attempt to broker a deal, but Bruce Wayne is no fool. He desperately wanted to clear the Gotham markets of all his competition. He was furious when you purchased Tenshi in the first place. That's why he jumped at the chance to buy it from me when I offered it to him. That's also why there was no way he was going to sell it back to you without making you pay for it.  
  
Lionel fidgets slightly in the chair.  
  
LEX  
  
And make you pay for it he did, an exorbitant amount, the kind of money you don't just have stuffed under the mattress. You are a resourceful man, but all of your resources are tied up in assets. The problem was, you needed the money now and the only way to get that kind of money in a hurry was to sell off some of those resources of yours, by selling off stock in your company. Of course, selling off that much stock to buy back a money hole like Tenshi isn't good for business.  
  
Lex picks up an issue of the Daily Planet from his desk and turns to the economy page.  
  
LEX  
  
LuthorCorp stock dropped dramatically, almost sixty-five percent, overnight. Now, you did your best. You tried your hardest, but the money simply wasn't there. You had no choice, and you made a fatal mistake in business ownership. You fell below fifty percent.  
  
Lionel's arrogant smile is now a distant memory, replaced by a creeping angry glower.  
  
LEX  
  
You see, fifty percent is the difference between majority rule and being outvoted at the table. If you own more than fifty percent of a company, it's yours, and no collective arrangement can overrule you. If you drop below the fifty percent line, however, you are vulnerable.  
  
Lex smiles maliciously.  
  
LEX  
  
You just couldn't help it, could you? You tried and you tried. You did everything you could think of, but you just couldn't let Wayne get his hands on Tenshi.  
  
Lex pauses a moment to let it all sink in, leaning comfortably back in his chair.  
  
LEX  
  
Of course, with stock prices at an all time low, I was presented with a unique opportunity. After selling my shares at nearly twice their new value just two days earlier, combined with the money I got in the deal with Wayne Enterprises and a generous loan from the United States government, I found myself with considerable assets which would undoubtedly better serve me if invested properly, like in a company... your company.  
  
Lionel stares intently at his son, deathly silent.  
  
LEX  
  
I now own fifty point two percent of LuthorCorp, making me the majority shareholder. Your company, the one you started, with the money you received from the insurance company after you had your parents murdered, and built from the ground up into a corporate empire... is now... mine!  
  
Lex stands up, placing both his hands on the desk, leaning forward to face his father.  
  
LEX  
  
As of right now, LuthorCorp no longer exists. This is my office, my building, and my company... the new LexCorp.  
  
Lionel glares at Lex for an agonizing eternity that lasts several seconds. Diverting his eyes, he smiles oddly.  
  
LIONEL  
  
So, that's what this was all about? You wanted my company? You have no idea what's going on here, no comprehension, no vision.  
  
Lex stands up straight.  
  
LEX  
  
Oh, I have a vision, and as you can see...  
  
He looks around at the office.  
  
LEX  
  
It's come to fruition rather nicely.  
  
Lionel stands up to meet his son at eye level.  
  
LIONEL And so what? You think any of this is going to last? You're a fool, Lex. Then, you are also correct.  
  
Lionel turns his back to Lex, walking around the chair and back a little ways in the direction of the door. He puts some distance between himself and Lex before turning back around.  
  
LIONEL I did make a mistake. I made a mistake with you. I tried... did I ever try. You just wouldn't listen. You wouldn't listen to ambition. Your mind is limited to what you see around you, to the confines of this steel, and glass, and plaster box.  
  
He raises his arms to the room around him.  
  
LIONEL You think this is power? You think having your name nailed to a door makes you special? You're a product of the times, Lex, a creation of the age of apathy.  
  
LEX  
  
I am your creation, only I turned out better than you expected, more than you could handle.  
  
LIONEL ::shakes head:: No, I'm sad to say that you turned out to be much less. Do you think Alexander the Great would have settled for a simple office building overlooking the city of Thebes, or a temple in Tyre? How many cities do you have named after you, Lex? Alexander the Great had more than seventy.  
  
LEX  
  
You're living in history, Dad.  
  
LIONEL No! I'm living in majesty! This world has become content in its futility. Empires rise and fall no more because it is an age of freedom and democracy. Everyone has a right to their fair share, their equal cut. Men of power have grown content with scraps in a world full of politics. Scholars and diplomats attribute it to evolution, but it is weakness. I raised you to be above that, to strive to be greater than this world, but you have no ambition. You are blind to the inherent opportunity that has been handed to us.  
  
LEX  
  
What are you babbling on about?  
  
LIONEL  
  
You think life is just a game of moves and countermoves. Ever since you were a child, you always reacted and never took the initiative. You want to be a master of the world as it is presented to you, the greatest of all within the rules, within the strategy of the game. I was given the chance to shape the world, to make the game obey me. What I told you was true. There is a war coming. It will be fought here, on Earth, by beings beyond your simple comprehension. Your good friend, Clark Kent, is a part of it, but I'm sad to say he is decisively on the wrong side.  
  
LEX  
  
You have been conspiring with them!  
  
LIONEL I saw an opportunity and I took it. They don't want this planet. They couldn't care less about this pathetic speck of dust in the universe, but they will destroy it to get what they want.  
  
LEX  
  
What do they want?  
  
LIONEL  
  
They want him.  
  
LEX  
  
Clark?  
  
LIONEL  
  
They came for him. That's why they're here. He ran from them, but they found him. It's his fault. He brought them here and now he wants us to fight a war for him, but he is outmatched, outgunned, outmanned, and outclassed in every sense of the word. They will devastate this world to get to him, and out of the ashes a new world will rise.  
  
LEX  
  
Your world...  
  
LIONEL With their technology at my disposal, history and empires will not seem so distant. Yes, I made an agreement with them. Perhaps, I even conspired with them. I made a deal for the world, and all it cost me was one little farm boy from Smallville, Kansas.  
  
Appalled, Lex reaches down under his desk and pulls out the rifle Noah stole for him from Tenshi. He points it at Lionel.  
  
LEX  
  
It'll cost you more than that.  
  
Lionel looks at the gun and laughs.  
  
LIONEL  
  
Put that away. You're not going to kill me, not your own father. You don't have it in you. You never did, otherwise we wouldn't be having this conversation. You don't have the gall of your father. You talk about the Luthor stake like it's somehow your rightful claim. There is not Luthor stake. There is only me. There is only your father, my ambition, my strive... something you have never known, and never will.  
  
Lex hesitates, trying desperately to summon to rage inside to help him pull the trigger.  
  
Finally, he lowers it.  
  
LEX  
  
You're right. I'm not going to kill you.  
  
Quickly, Lex raises the gun back up and aims it at Lionel's legs. A steady stream of blue energy emanates from the gun and a block of blue ice crystallizes around Lionel's legs. Lionel screams in agony.  
  
Pulling his finger from the trigger, cutting off the beam with the ice halfway up Lionel's thighs, Lex steps around the desk to survey his work.  
  
LEX  
  
I had the good Doctor Fries modify your little toy here to emit the Static Life molecule in a more concentrated form. He told me it was, surprisingly, a great deal easier than he had originally expected. Apparently, the weapon already worked on a similar energy distribution matrix as his chamber.  
  
Lionel shivers, trying desperately to breaks the ice around his legs with his palms.  
  
LIONEL  
  
Lex... Lex, I am your father. Don't do this!  
  
Lex walks around and behind him, circling his prey.  
  
LEX  
  
I told him that I planned to use it against the creature from the incident at the lab. Of course, I wasn't really lying.  
  
Lex shoots Lionel again, this time in the back. The ice crystallizes from his legs up over Lionel's back and around his arms, forming a claw like shape around him. Lex again cuts the beam, leaving only Lionel's chest and head unexposed.  
  
LIONEL Lex... Lex!  
  
Slowly, Lex steps around to face his father one last time.  
  
LEX  
  
He was more than willing to help me when he found out you were the one who sabotaged his machine, almost killing his wife.  
  
LIONEL I... I didn't sabotage his machine!  
  
Lex feigns confusion.  
  
LEX  
  
You didn't? Hmm... I wonder how he came under that impression, then? Of course, it was my men who built the machine. I suppose it's possible one of them could have had something to do with it. I'll have to look into that.  
  
Lex steps back and raises the gun for one final shot.  
  
LIONEL  
  
Lex, please...  
  
LEX  
  
I'm sorry, Dad. It's only business. Besides, I wouldn't want to be accused of nepotism.  
  
Lex shoots the gun, encasing his father inside a solid block of Static Life ice.  
  
Satisfied, Lex walks back to his desk and taps the intercom button.  
  
LEX Noah, can you come in here, please?  
  
Not a few seconds later, Noah enters the office from a side door. Meeting him half way, Lex hands Noah the weapon and looks back at his father.  
  
LEX  
  
Checkmate.  
  
Lex leaves through the side door. 


	17. Ascension Part 17

EXT. SMALLVILLE CEMETERY – DAY  
  
Lana steps up to the two cold gravestones of her parents and falls to her knees. The lawn around her legs is slightly greener than everywhere else, a newly planted patch of grass replacing what the fire consumed when Lana set her family photo albums ablaze.  
  
A tear in her eye, she notices something wedged between the grass and one of the stones, the bottom half of a picture of Lana and her parents, one the groundskeeper must have missed. Unfortunately, the family smiles were lost to the burned upper half.  
  
CHLOE  
  
I thought I'd find you here.  
  
Lana turns around to see Chloe standing several feet away, her hands in her jacket pockets.   
  
LANA  
  
Chloe…  
  
Lana gets to her feet, wiping her eyes.  
  
CHLOE  
  
Call it reporter's instinct.  
  
Chloe scoffs at herself.  
  
CHLOE  
  
Actually, Pete told me you came back.  
  
LANA  
  
::nods:: Last night.  
  
Lana speaks timidly, her head down.  
  
CHLOE  
  
He said you're going to be staying with Mrs. Kent?  
  
Lana nods.  
  
CHLOE  
  
We packed your things. We're moving, you know… to Gotham.  
  
LANA  
  
::nods:: Clark told me.  
  
CHLOE  
  
We were going to put them in storage, but now that you're here… Did you want us to drop them off?  
  
LANA  
  
I was going to pick them up. I was actually on my way over when…   
  
She turns around in shame.  
  
LANA  
  
Well, I figured mine was the last face you'd want to see right now.  
  
CHLOE  
  
So, you ended up here?  
  
LANA  
  
It seems like, no matter what I do, I always end up back here.  
  
Chloe nods, solemnly.  
  
CHLOE  
  
You really miss them, don't you?  
  
LANA  
  
Ya know, I don't even know. I was so young when they died. It's getting harder and harder to remember them at all. I thought if I just let go of the memory, let them rest, maybe I could move on with my life. I thought… if I just forgot them all together, the pain would go away.  
  
She looks at the crisp remains of the picture in her hand.  
  
LANA  
  
I was wrong. They're a part of me and I'll never be able to forget them completely… and I don't want too. The thing is, I think I'm finally ready to accept what happened, to accept and cherish their memory as opposed to trying to ignore it, and now I don't even have anything to remember them by.  
  
CHLOE  
  
When my mother left us, I just remember being furious with her. I didn't understand how she could just up and abandon her family like that. I thought maybe it was something I had done, that she didn't love me. Maybe if I had been a better daughter.  
  
She shakes her head, old memories stirring up the waterworks in her as well.  
  
CHLOE  
  
I hated her for it.  
  
LANA  
  
Do you hate me?  
  
Chloe doesn't answer at first, hesitating deliberately. Taking her hands out of her pockets, she folds them across her chest and walks up next to Lana, but they don't look at each other. They each stare down at the gravestones in front of them.  
  
CHLOE  
  
::nods:: I did… for a very long time. I made quite the hobby out of it, actually. Part of it was jealousy.   
  
She laughs at herself, rolling her eyes to the sky.  
  
CHLOE  
  
What am I saying? All of it was jealousy.  
  
Lana looks up at Chloe.  
  
LANA  
  
You were jealous of me?  
  
Lana seems genuinely surprised by the revelation, which only serves to annoy Chloe.  
  
CHLOE  
  
You have no idea how irritating that is.  
  
LANA  
  
What?  
  
CHLOE  
  
Your ignorance of it… your complete and total obliviousness to my envy of you.   
  
LANA  
  
I always thought you didn't like me because you thought I was self-involved and stuck-up.   
  
Chloe shrugs slightly to herself, not enough that Lana notices.  
  
CHLOE  
  
I knew the names you called me behind my back; Miss Prissy Princess.  
  
CHLOE  
  
Consider yourself lucky. It's better than being known as "that blonde reporter bitch". I had to convince myself it was a compliment, that I was doing my job, just so that I wouldn't have to spend every afternoon locked in a stall in the girl's bathroom waiting for everyone to clear out so they wouldn't see me crying.  
  
LANA  
  
I didn't know they made you cry…   
  
Lana corrects herself quickly.  
  
LANA  
  
I didn't know I made you cry.  
  
CHLOE  
  
::shrugs:: I'm not invulnerable… unlike someone we know. You were always the prettiest girl in school, the most popular, got straight A's in everything.   
  
LANA  
  
You're all of those things.  
  
CHLOE  
  
Please, I don't think I'm ugly, but I'm not going to win any beauty contests, and I've never in my life had more than a handful of friends.   
  
LANA  
  
You're smart… one of the smartest people I know.  
  
CHLOE  
  
I get good grades, sure, but it comes effortlessly to you. Did you know that during Freshman year, for the last three months of school I didn't go to sleep at least one night every week because of having to stay up all night studying?  
  
LANA  
  
::shakes head:: I didn't know that.  
  
CHLOE  
  
::nods:: Everything always comes so easy to you. Besides that, you were the captain of the cheerleading squad, dated the captain of the football team, not to mention the object of Clark' Kent's unwavering affection.  
  
LANA  
  
I guess I was so busy feeling sorry for myself, I never realized anyone could ever be jealous of what I had.  
  
CHLOE  
  
And I was so busy thinking it was so totally obvious, I never realized you were miserable.  
  
LANA  
  
But, despite all of that, you invited me to live with you and treated me like family. Why did you do that for me?  
  
CHLOE  
  
I didn't do it for you. I did it for me.  
  
Lana looks at her, confused.  
  
CHLOE  
  
I did it to feel better about myself, for hating you. Deep down, I knew I wasn't being fair to you. I never gave you a chance. It wasn't your fault. You couldn't help the way you felt, or the way Clark felt about you, any more than I could. I thought that, maybe, if we took you in, it would somehow atone for how I had treated you, even if it was just in my own head.  
  
LANA  
  
How you treated me? You want to talk about jealousy? I deliberately sabotaged your date with Clark. I kidnapped your father, for spite.  
  
CHLOE  
  
::shakes head:: You didn't mean to do those things.  
  
LANA  
  
Part of me did.  
  
CHLOE  
  
And part of me wanted to make like the swan princess and take a dive off the Daily Planet building. Neither of us are proud of what that thing made us do.  
  
LANA  
  
How much did it really make us do, Chloe? How much was already there just waiting for a release, something to bring it all to the surface?   
  
Neither of them really feel the need to answer that particular question.  
  
LANA  
  
::shrugs:: It comes with the territory, I guess.  
  
CHLOE  
  
The many dangers and perils of being in any way associated with Clark Kent.  
  
LANA  
  
It's been a ride.  
  
CHLOE  
  
Yes, it has.  
  
Lana looks sadly at the gravestones.  
  
LANA  
  
And to think it all started with that day.  
  
She kneels back down.  
  
LANA  
  
And now it's over. It's all gone, and I have nothing to remember them by.  
  
Giving in, she let's herself cry in front of Chloe.   
  
Without saying anything, Chloe reaches back into her jacket pocket  
  
CHLOE  
  
I wouldn't say nothing.  
  
Lana looks up to find herself staring up at two very familiar smiling faces.   
  
Chloe, her arm extended, holds a photograph of Lana's parents in her hand, the upper right corner only slightly singed.  
  
LANA  
  
Where did you get this?  
  
Lana stands back up, taking the picture to admire.  
  
CHLOE  
  
After you disappeared, I came here, thinking it might be my best chance of finding you. The town's never really been very good about cleaning up the cemetery. I once wrote an article about all the plastic and string ties that you can find blowing in the wind around here... from all the flowers. I found the photo albums. They were pretty burnt up, but some of the pictures were still good.   
  
LANA  
  
There's more?  
  
CHLOE  
  
::nods:: I saved them. I brought all the ones that seemed like they might be remotely salvageable in to the Torch. Henry was able to restore a lot of them. That kid is an incredible photographer. He can do some pretty amazing things.  
  
LANA  
  
So can you.  
  
Lana smiles at her gratefully.  
  
LANA  
  
You did that for me?  
  
CHLOE  
  
What are friends for?  
  
Sharing tears, the two friends also share a much needed hug.  
  
CHLOE  
  
Well, Miss Priss…  
  
Chloe laughs, using the name in jest.  
  
CHLOE  
  
What do you say we get out of here, maybe go get some coffee and help set up for the fundraiser?  
  
LANA  
  
::smiles:: Whatever you say… bitch.  
  
They laugh and walk to Chloe's car arm in arm. 


	18. Ascension Part 18

INT. KENT HOUSE – CLARK'S ROOM  
  
Clark Kent breathes in deeply as he stares at himself in front of the mirror, dressed in a black suit. He seems nervous, taking very deliberate deep breaths and rubbing his hands together.  
  
Martha steps in from behind him. He has to bend down as she threads his head through the loop in a black tie she's pre-tied for him. Slipping it under his collar, she tightens it up around his neck.  
  
Somewhere downstairs, Pete calls out…  
  
PETE (voice)  
  
Hey, Clark, man, you ready?!  
  
Clark swallows and looks at his mother.  
  
MARTHA  
  
How do you feel?  
  
CLARK  
  
A little nervous. I'm going to be on stage tonight.  
  
She smiles warmly.  
  
MARTHA  
  
You'll do fine.  
  
He smiles back at her and hugs her before heading out of the room and downstairs.  
  
EXT. FORT RILEY – LATE AFTERNOON  
  
A sleek black limousine pulls up inside the army base, the slowly sinking orange sun reflecting off the side doors. Coming to a complete stop, Mercy Graves steps out of the driver's seat, walks around the front, and opens the side door. Lex Luthor steps triumphantly out of the limousine, watching proudly as a large moving truck with the LexCorp logo on the side drives passed him.  
  
The moving truck comes to a stop at the end of a row of already similarly parked trucks. Almost instantaneously, a man dressed in Army fatigues unlocks the back and pushes up on the door, sliding it up. Rows of rifles, the same kind Lionel Luthor was secretly manufacturing at Tenshi, are lined up on racks on each side of the truck. Jumping up inside, the man in fatigues grabs the first rifle off the rack and hands it down to a second soldier who then presents it to the first man in a line of hundreds of men waiting to be armed.  
  
Four troop helicopters fly overhead of General Horatio Lester, a staunch looking man, as he oversees the training of more than a couple thousand infantry men armed to the teeth with the new rifles. Several tanks and armored troop vehicles can also be seen in the distance, moving out of the base motorcade style. Lex Luthor steps up behind him.  
  
GENERAL LESTER  
  
This may be the greatest threat this world has ever known. I'm sure glad we have you on our side, Lex Luthor.  
  
Lex simply smiles.  
  
INT. UNKNOWN  
  
Lieutenant Shull, looking more than a little agitated, marches down a long, dark, corridor leading to a pair of automatic doors. They hiss open as he approaches, leading him to a war room of sorts.  
  
The room is impressively spread out, circular in shape, with computer stations along the walls and one massive one in the center linked to a holographic topographical map of Metropolis. Colonel Kalib stares at the map meticulously before Shull interrupts.  
  
LIEUTENANT SHULL  
  
We have a problem?  
  
COLONEL KALIB  
  
Do not waste words with me!  
  
LIEUTENANT SHULL  
  
Lex Luthor has taken over control of LuthorCorp.  
  
Kalib growls furiously.  
  
COLONEL KALIB  
  
Lionel?  
  
LIEUTENANT SHULL  
  
::shakes head:: We can't find him.  
  
COLONEL KALIB  
  
What do we know of this Lex?  
  
LIEUTENANT SHULL  
  
Very little, only that Lionel seems to have rather thoroughly alienated his son. It seems, in hindsight, that was a mistake.  
  
COLONEL KALIB  
  
He would oppose us?  
  
LIEUTENANT SHULL  
  
That would seem likely. At this point, it would also seem doubtful that we will ever receive the weapons Lionel Luthor was manufacturing for us.  
  
Stepping in from the side, absolutely out of nowhere, his hands locked behind his back, Darkseid interjects himself into the conversation, much to the chagrin of Shull.  
  
DARKSEID  
  
Then, we have just handed them the means to defend themselves.  
  
Shull steps back, clearly intimidated by Darkseid.  
  
LIEUTENANT SHULL  
  
A minor setback, my Lord. The process may take a little longer, but…  
  
DARKSEID  
  
A little longer? It is unfortunate for you that I am not a patient man.  
  
That only too familiar fiery glow begins to burn behind Darkseid's eyes. Shull doesn't even have time to scream before being instantly vaporized by two powerful streams of flame.  
  
Kalib smiles maliciously at Shull's demise.  
  
DARKSEID  
  
It is almost incomprehensible that one man could fail so completely.  
  
COLONEL KALIB  
  
Yes, father.  
  
DARKSEID  
  
See that you do not make the same mistake.  
  
Darkseid turns away and returns to the shadow he stepped out of.  
  
DARKSEID  
  
Ready the Parademons. Metropolis burns tonight. 


	19. Ascension Part 19

EXT. THE TALON – NIGHT  
  
A full moon hangs high above the Talon, several clouded wisps dancing through the immaculate rays shining down. The sign reads: "Gymnasium Fundraiser Talent Show".  
  
INT. THE TALON  
  
Principal Reynolds' smile stretches ear to ear, not in appreciation for the alternative rock band currently riling up the numerous high schoolers crammed into the Talon, but for the impressively high stacks of bills being counted out at the tables by the entranceway.  
  
Towards the back, Chloe and Lana dance to the beat and, as the band finishes playing, join in with the group to give them a grand applause.  
  
LANA  
  
Hey, they were pretty good.  
  
CHLOE  
  
Yeah, but I came for the next group.  
  
An enigmatic emcee, carrying a microphone and clipboard, steps up in front of the stage as the curtain draws closed behind him.  
  
EMCEE  
  
Hey, all right, Smallville High! Let's give it up for "Levvy and the Rods"!  
  
The crowd roars once more.  
  
EMCEE  
  
Hey, I think I speak for everyone when I say this has been one absolutely bangin' night. Now, before we welcome on our final performers, I think we need to give a big shout out to those who helped make all this possible. Let's give a huge Smallville High Crows Caw Caw!!!  
  
The crowd collectively shouts "Caw Caw!"  
  
EMCEE  
  
… to Miss Lana Lang, for letting us use the Talon to host the fundraiser!  
  
Lana shyly smiles and waves to the crowd as they applaud her.  
  
EMCEE  
  
… and to Chloe Sullivan, for all the incredible hard work and time she put in organizing this great event!  
  
Conversely to Lana, Chloe eats up the applause, taking several bows.  
  
EMCEE  
  
… and, finally, to the man of the evening, the guy who puts the "Pal" in Princi-pal…  
  
The crowd collectively boos at the emcee's lame pun, which he jokingly laughs off.  
  
EMCEE  
  
Yes, that's right, let's bring him on up here, Principal Reynolds!  
  
Welcomed to the stage by an unprecedented number of cheers, Principal Reynolds graciously accepts the adoration.  
  
EMCEE  
  
Hey, Principal Reynolds, how are you feelin' tonight?  
  
The emcee throws his hand over Reynold's shoulder and throws the microphone in his face.  
  
PRINCIPAL REYNOLDS  
  
I'd feel a lot better without your arm around me, Mr. Daniels.  
  
EMCEE  
  
Whoa-oa-oa!  
  
The crowd laughs as the emcee jumps away from Reynolds.  
  
EMCEE  
  
Hey, but we all know why we're here, and it's not just to enjoy some awesome food, killer coffee, and great performances. We were all brought here together tonight for a very special cause, to help raise funds for a new gymnasium. Yes, folks, that's all we need at Smallville High, another place to promote a new class of Freshmen stinking up the hallways.  
  
Principal Reynolds even laughs at that.  
  
EMCEE  
  
So, Principal Reynolds, as I'm sure everyone here has been anxiously waiting to know, why don't you let us in on how much we've managed to raise tonight.  
  
PRINCIPAL REYNOLDS  
  
Well, Mr. Daniels, I'm proud to announce that, thanks to all of you here, as well as a healthy donation from Lex Luthor himself, we have managed to raise tonight a grand total of sixteen thousand…  
  
The crowd erupts.  
  
PRINCIPAL REYNOLDS  
  
… four-hundred and thirty-two dollars!  
  
EMCEE  
  
All right Crows! Give yourselves a hand!  
  
Behind the roaring crowd, Lana and Chloe scream their cheers.  
  
EMCEE  
  
That is amazing! You guys are amazing! And speaking of amazing…  
  
Principal Reynolds silently catches the emcee's hint to exit the stage.  
  
EMCEE  
  
It's now time, ladies and germs…  
  
Another collective groan from the crowd…  
  
CROWD JOCK  
  
Lame!  
  
EMCEE  
  
…for the final performance of the night. Now, you've seen them on T.V. You've seen them on the big screen, but tonight and tonight only, Smallville High School, in conjunction with Talon Records, proudly presents to you…   
  
The curtain rolls back as the emcee quickly runs from the stage.  
  
EMCEE  
  
… the Blues Brothers!  
  
Chloe's and Lana's eyes almost fall out of their sockets as the curtain opens. Clark and Pete stand side by side on the stage dressed up in all black suits, hats, and sunglasses. The band from before, having remained on stage, begins to play the first beats of "Soul Man". On the left, Clark stands with his hands locked in front of him, staring straight at the ground. Pete, who will be playing the role of John Belushi, stands next to him, leaning slightly to one side, chewing on a piece of gum.  
  
The band kicks it into gear and so do Clark and Pete into vintage Blue Brothers, dancing, kicking out their feet and flailing their arms wildly into the air.  
  
Pete approaches the microphone and, singing in his own voice…  
  
PETE  
  
Comin' to ya, on a dusty road… Good lovin', I got a truck load… And when you get it, you got something… So don't worry, cause I'm coming…  
  
Clark grabs his microphone and he and Pete break out into the chorus, along with the rest of the crowd.  
  
CLARK and PETE  
  
I'm a soul man!... I'm a soul man!...  
  
Chloe and Lana laugh hysterically to each other as they watch the two boys up on stage.  
  
CHLOE  
  
Oh my gosh, they're awful!  
  
LANA  
  
They're great!  
  
CHLOE  
  
::nods:: I know!  
  
EXT. KENT FARM – NIGHT  
  
A roll of thunder far off in the distance prompts Martha Kent to step out onto the porch. As a breeze blows a few stray hairs across her face, she wraps a knitted scarf tightly around her shoulders to keep from catching chill. She looks up at the cool moon as several clouds threaten to envelop the massive glowing ball.  
  
INT. THE TALON  
  
As Clark and Pete dance up on stage to "Soul Man", Gabe Sullivan manages to wheel himself inside with the help of a friend who holds the door. Enjoying the performance too much to notice, it takes Lana to point him out to Chloe.  
  
LANA  
  
Chloe…  
  
Chloe looks over at her father, waiting behind the crowd, and realizes it's time to leave. Her spirits suddenly sink and her smile fades away.  
  
Up on stage, as the band finishes its grand finale, Pete and Clark try desperately to keep smiling their way through the crowd's incredible ovation, each noticing Gabe Sullivan entering the Talon in search of his daughter. They each take a brief bow before heading backstage.  
  
INT. THE TALON – BACKSTAGE  
  
Removing his hat and sunglasses, Clark throws the hat to the ground, dreading the upcoming farewells.  
  
Suddenly, a pounding, thunderous wave rushes over Clark. Grabbing his head in pain, he drops to one knee and cries out in agony. Pete quickly runs to his friend's aid.  
  
PETE  
  
Clark, what is it?  
  
Clark's super-hearing bests him as wave after wave of deafening pulses and screeches humble the future Man of Steel to the ground.  
  
EXT. NIGHT SKY  
  
Somewhere in the night, a gargoyle-like parademon flaps its massive leather wings, beating like a ravenous heart at the night air. The Metropolis city skyline in the distance, it opens its trap jaw, revealing hideously grotesque fangs within, and screams a high pitched shriek into the wind.  
  
Behind the great flying beast, at least one hundred similar monsters mimic its blood curdling call.  
  
INT. THE TALON – BACKSTAGE  
  
Clark tries to stand, but his super sensitive hearing picks up the sound of the parademons' wings, and shrieks, like a pulse pounding hammer beating down on his skull from all sides. He cries out in agony and only the still cheering crowd prevents anyone else from hearing him.  
  
PETE  
  
Clark! Are you all right?  
  
Clark tries to shake it off, looking up at Pete with a horrified expression on his face.  
  
CLARK  
  
I can hear them.  
  
PETE  
  
Hear who?  
  
CUT TO: In the night sky, the lead parademon growls viciously, his bloodshot eye closing to a slit as if staring malevolently at Clark from even this great distance.  
  
Clark, with some help from Pete, manages to control his hearing long enough to get himself back up on his feet.  
  
CLARK  
  
It's starting.  
  
PETE  
  
What? What's starting? What's going on, Clark? You're not making any sense.  
  
Clark turns quickly and runs for the emergency exit out the back of the Talon. Pete follows him.  
  
EXT. BEHIND THE TALON – NIGHT  
  
In the alleyway behind the Talon, Clark races out the backdoor, immediately turning his attention upwards. Though most of it is now blocked by the impending storm clouds, some moonlight manages to sneak through, only to be dissected by what appears to be a mass of birds flying very high up in the sky. Yet, even Pete, without Clark's heightened visual acuity, can tell these are no birds.  
  
PETE  
  
Holy…  
  
CLARK  
  
They're heading towards Metropolis.  
  
Clark looks back at Pete.  
  
CLARK  
  
I have to go.  
  
Pete looks over his shoulder, back at the Talon, remembering Chloe. He doesn't say anything, though, and he doesn't have too. There is pain behind Clark's eyes, but there is also determination and mission.  
  
PETE  
  
Good luck, man.  
  
CLARK  
  
::nods:: Thank you, Pete.  
  
Clark takes one last look at his friend, turns, and runs…  
  
EXT. THE TALON – NIGHT  
  
Chloe stands outside her car packed full of boxes and suitcases. As she hugs Lana goodbye, she watches as a friend of the family helps her father into the passenger side of a moving truck.  
  
LANA  
  
I'm going to miss you, Chloe.  
  
CHLOE  
  
I'll miss you too.  
  
They are each a mess, but try to keep it from each other by wiping their tears behind each other's back. Finally, they break apart, at which point they each turn to see Pete standing out front of the Talon entrance. He is very still, very sad, and stares matter-of-factly over at Chloe. He doesn't have to say anything. She knows.  
  
CHLOE  
  
He's not coming, is he?  
  
Pete looks to the ground to avoid the question, then, up at the moon. Chloe and Lana each look up as well to see the parademons flying across its glowing façade. 


	20. Ascension Part 20

EXT. SMALLVILLE - NIGHT  
  
Clark utilizes his super speed to tear down local roadways in hot pursuit of the flying monsters. Carefully eyeing them the entire way, he slows down when one of them breaks away from the group. Tracing it across the night sky with his eyes, he watches closely as it disappears behind the massive superstructure of the Luthor mansion.  
  
CLARK  
  
Lex…  
  
Clark super speeds his way to the mansion.  
  
Above the mansion, a thick layer of clouds now completely blocks out the moon… and the thunder rolls…  
  
INT. LEX'S MANSION – ATRIUM  
  
A massive wooden door swings open, like a coffin, revealing a dark silhouette carved from the little remaining light outside. Slicing lightning across the blackened night reveals both the fear and determination etched into Clark's jaw. He marches inside, leaving the door open.  
  
Behind him, several shadows move about the entranceway, silently following him inside.  
  
INT. LEX'S MANSION – HALLWAY  
  
Proceeding down the hallway to Lex's office, Clark meticulously scans each of the rooms with his X-Ray vision as he passes them. To his surprise, all of the rooms are completely barren. Not only is there no demon within, there is nothing at all, as if the entire mansion had been completely cleared out.  
  
Cautiously, he continues to make his way down the hall. The quiet, interrupted only by his own footsteps, chews away at his nerves. It's almost a relief when a familiar voice cries out from the door at the end of the hall.  
  
CLARK  
  
Lex?!  
  
Clark quickly runs down the hall.  
  
INT. LEX'S MANSION – LEX'S OFFICE  
  
Clark storms through the door to Lex's office, nearly ripping it off it's hinges in the process.  
  
Lex Luthor sits in front of the fireplace in the one remaining piece of furniture in the room, an antique vintage oak wooden chair. He stares at the blazing flame as if having a conversation with it, as if it were talking to him about something so infatuating, all the world around him seems trivial. He sits calmly, no demon in sight.  
  
CLARK  
  
Lex?  
  
Blinking once, Lex lowers his head, clasping his hands together by linking his fingers. Pressing the tips of his thumbs and forefingers together, he touches his fingers to his lips in contemplation.  
  
LEX  
  
Hello, Clark.  
  
CLARK  
  
Lex, are you all right? I thought I heard you scream.  
  
LEX  
  
I screamed.  
  
CLARK  
  
Why?  
  
LEX  
  
Because I can. Because it will be my last in this house. Haven't you ever been alone in your own house before, Clark?  
  
Lex waits shortly for an answer, but continues when Clark remains silent.  
  
LEX  
  
Tell me you didn't indulge in your freedom; sit around watching television naked, left the bathroom door open while you showered, screamed at the top of your lungs because no one would hear you.  
  
CLARK  
  
Lex, where did everything go?  
  
LEX  
  
I'm leaving, Clark. I'm leaving Smallville behind me and moving to the city. I've made my ascent up the corporate ladder and it is time for me to move on to a greater arena.  
  
CLARK  
  
You didn't tell me you were moving.  
  
LEX  
  
Yes, well, we all have our little secrets, then, don't we, Clark?  
  
Lex carefully breaks his hands apart and reaches down into his left suit jacket pocket, pulling out the gargoyle ring made from the Kryptonite.  
  
LEX  
  
I've taken over my father's company. It belongs to me now.  
  
CLARK  
  
Lionel gave it to you?  
  
LEX  
  
My father has taken an indefinite leave of absence and left me in charge. He needed some time to himself.  
  
Lex slips the ring onto his right ring finger, admiring it as he clenches his fist.  
  
CLARK  
  
Oh.  
  
Clark shakes it off, remembering the imminent danger. He walks a few steps closer to the chair, walking along side of it so that he can look at Lex in the eye.  
  
CLARK  
  
Listen, Lex, we have to get out of here. There's no time to explain, but you're in danger.  
  
LEX  
  
Aren't we all?  
  
Clark looks at him confused.  
  
Lex stands up out of the chair and walks a few steps away from Clark. They stand on opposite sides of the hearth, the fire burning between them.  
  
LEX  
  
You know, Clark, I'm glad you came here tonight. I meant to see you before I left. You see, I wanted to thank you, for being there for me, for being such a good friend to me over the past few years. I know I can oftentimes be a fairly difficult man to get along with. Our relationship has certainly seen its proverbial…  
  
Lex laughs…  
  
LEX  
  
…and literal bumps in the road, but you stuck by me. I never really had many friends growing up, Clark. My father used to tell me it was because I was special, and that the other children were jealous of me. After a while, I even started to believe that. It wasn't until much later on that I realized that, for whatever reason, people just don't like me. I became reserved to the fact that I simply wasn't going to have many friends in life… and that I should cherish the one's that I had. That's when I met you.  
  
Lex smiles up at Clark, quite warmly actually.  
  
LEX  
  
I remember, in the beginning, your father warned you away from me. He didn't like me because I was a Luthor. He didn't trust me, but you stood by me. You were my friend and, although your father was a good man, you denied him and stuck with me. After all that my father put you through, after all that I put you through, you were always there for me. You never hesitated in looking out for my best interests. You were absolutely the best friend a man could ever have, Clark…  
  
Lex offers Clark his right hand to shake. Graciously, Clark accepts, taking Lex's hand and shaking it. Instantaneously, the veins in Clark's hand begin to pulse a dark green and the stone in Lex's ring glows a bright emerald.  
  
LEX  
  
…which is why… I don't understand why you couldn't trust me!   
  
Clark uses all his energy to turn Lex's hand over in his, seeing the ring glowing a bright green on Lex's finger.  
  
LEX  
  
I don't understand why, after all that we've been through together, you couldn't come to me with your secret.  
  
Sick from the Kryptonite, Clark falls to one knee, desperately trying to pull his hand free of Lex's grasp.  
  
CLARK  
  
Lex…   
  
LEX  
  
I trusted you. I trusted you with my very life, but you spit in my face! What I want to know is why? Didn't you think you could trust me? Didn't you think I would help you? Didn't you think I would do everything in my power to help you the same way you'd helped me?!  
  
Clark continues to crumble in front of the fire with Lex now holding him up with his hand, the Kryptonite barraging Clark with wave after wave of radiation.  
  
LEX  
  
What is it about me, Clark?! What is it? What is it about me that's so bad that my own father couldn't love me?!... that my best friend couldn't trust me?!  
  
Tears in his eyes, but hatred in his voice, Lex shouts Clark to the ground.  
  
CLARK  
  
Lex… please…  
  
LEX  
  
What is it, Clark? I can change. I could have changed… if you had just told me what it was. You were my friend! Why couldn't you trust me? What is it about me that people hate so much? Why do people hate me, Clark?! Tell me!  
  
Lex's hand shakes as he crushes Clark's hand in his own.  
  
LEX  
  
Tell me!  
  
The fire rages inside the fireplace and in Lex's eyes.  
  
LEX  
  
Tell me!  
  
Lex's screams are not so loud that he drowns out the rumbling of the thunder outside… or the growling inside…  
  
Lex turns just in time to see the massive parademon, its wings outstretched, fly over the chair and slap him across the face and half-way across the room, forcing him to release Clark in the process. Taking advantage, though, the creature picks Clark up off the ground with its massive clawed paws and lifts him into the air, screeching a hideous shriek of triumph. Trying to muster up the strength to fight back, Clark flails his limp arm at the creature's head, but barely phases the great beast as it prepares to tear him to shreds.  
  
From out of the flickering shadows of the fire comes hope in the form of several cat-like creatures that pounce on the demon with a primal viciousness. The Shadow-Els, having followed Clark into the mansion, attack the demon like a pack of hyenas, scratching, clawing, and biting at any bit of it they can. Hurling Clark across the room, the parademon fights away at its attackers, gathering one up off its leg and snapping its neck.  
  
On opposite sides of the room, both Clark and Lex struggle to pick themselves up off the ground as the monsters do battle, neither the pack nor the demon showing a clear advantage. Clark and Lex, former friends now bitter enemies, stare at each other across the room on either side of the rumble.  
  
Kicking their way into the office from a side door, Noah and Mercy Graves storm inside with their specialized rifles at the ready. Without hesitation, they fire into the pack of destruction, not bothering to discriminate between Shadow-El and demon.  
  
Two more Shadow-Els fall lifelessly to the ground, electrocuted by the rifles, giving the parademon advantage enough to hurl the few remaining Shadow-Els off its back and in the direction of Clark. Quickly, Clark runs over to the sole El left moving, kneeling on the ground at its side.  
  
CLARK  
  
No…  
  
It smiles, remarkably human-like, up at him.  
  
SHADOW-EL  
  
I believe the El will save us.  
  
Clark goes to say something, but it's too late. The poor creature's eyes roll back, and it lies dead.  
  
Infuriated, Clark stands up to face off with the parademon, but under the assault of Noah and Mercy, it opts to attack them instead. Hurling itself across the room, narrowly avoiding several rifle shots in the process, it pounces on Noah, driving him to the ground.  
  
NOAH  
  
Ah!  
  
He screams as the demon tears his chest apart, but it gives Mercy the opportunity to take up position to the side of the great creature. A point blank blast to the side of the head later, and the demon slumps lifelessly over.  
  
Now, Clark turns his attention on Lex, who glowers at him from across the room. A quick glance down at the dead parademon, though, reminds him of the task at hand.  
  
LEX  
  
Clark!  
  
Turning, Clark runs towards the stain glass window, and leaps into the air, hurling his body through the center of it. Reaching out to grab Clark, Lex catches only raining down shards of multicolored glass, which bite into his head and hands and any other exposed area of his skin.  
  
Blood dripping down his face, staring out the window as another bolt of lightning strikes out in the distance, Lex cries out.  
  
LEX  
  
Clark Kent, you can't run from me! You hear me? You betrayed me and I will hunt you down for it! Do you hear me? From this day on, you will be my personal mission in life!   
  
EXT. SMALLVILLE – NIGHT  
  
Running for Metropolis, Clark Kent cringes as he listens to his former friend's cries for revenge.  
  
LEX (voice)  
  
I will see to it that no one on this Earth trusts you! No one anywhere! I will expose you for what you really are! Do you hear me? You will rue the day you ever met Lex Luthor!  
  
Having no choice but to ignore it, Clark runs forward. 


	21. Ascension Part 21

EXT. METROPOLIS INTERNATIONAL – NIGHT  
  
Outside the Metropolis International Airport control tower, General Lester steps down from the passenger seat of a troop transport vehicle. He heads for the Tower entrance, escorted by two soldiers in tow.  
  
INT. METROPOLIS INTERNATIONAL CONTROL TOWER  
  
General Lester wastes no time getting down to business, weaving his way through various computer terminals and Tower employees to where the chief tower operator hovers over a radar screen. There is a single blip on the screen, proceeding slowly from top to bottom.  
  
GENERAL LESTER  
  
Has the runway been secured?  
  
OPERATOR  
  
Yes, General, no planes coming in or out. The skies are clear.   
  
The operator looks over at Lester's guards who've taken up position by the door.  
  
OPERATOR  
  
You've already taken care of security. We're as ready as we'll ever be for Air Force One.  
  
GENERAL LESTER  
  
Good. The President is here to speak with me personally. Once they land, I don't want anything…  
  
A second blip appears at the upper left hand corner of the radar screen.  
  
OPERATOR  
  
Wait a minute…   
  
GENERAL LESTER  
  
What is it?  
  
OPERATOR  
  
Something coming up on radar, but we don't have anything scheduled coming in.  
  
Lester leans forward over the operator's shoulder.  
  
As the unidentified blip slowly pursues Air Force One, a second blip appears right behind it… and then another… and another… Before long, the entire upper half of the screen is filled with tiny blips moving toward Air Force One.  
  
GENERAL LESTER  
  
My God…  
  
EXT. METROPOLIS – NIGHT  
  
Air Force One pierces through the dense storm clouds as it flies over the far outskirts of Metropolis. At first, everything seems normal, then, a bolt of lightning illuminates the sky around it, revealing a single parademon flying along its starboard side. A second bolt a second later reveals three more. Finally, a third bolt of lightning reveals Air Force One surrounded on all sides by the malicious demons.  
  
INT. AIR FORCE ONE – COCKPIT  
  
Three taps in rapid succession, followed by a frustrated slap, do little to coax the radio inside Air Force One's cockpit to spit out more than static.  
  
PILOT  
  
Control, repeat, this is Air Force One requesting clearance to land, over.  
  
CO-PILOT I  
  
What's going on?  
  
PILOT  
  
Heck if I know, the damn radio's just cut out. I can't raise tower.  
  
The cockpit drops, suddenly, the pilot and three co-pilots reeling, struggling just to stay in their seats.  
  
PILOT  
  
What the…  
  
Sparks fly over the co-pilots' heads, raining down on and burning their uniforms.  
  
CO-PILOT I  
  
We just lost the auto-pilot!  
  
EXT. METROPOLIS – NIGHT  
  
The parademons crawl over the outside of Air Force One like maggots over an animal carcass, scratching and clawing at the wings and engines. The massive plane veers to uncontrollably to one side.  
  
INT. AIR FORCE ONE – COCKPIT  
  
Inside the shaking cockpit, the pilot tries desperately to steady himself, much less the plane.  
  
PILOT  
  
Somebody give a look outside! What the hell's going on out there?!  
  
The two rear co-pilots each give a look out their respective viewing windows. Like a punch to the face, the sight of the parademons crawling on the outside of the plane slams both men back into their seats. They shoot each other a worried glance.  
  
PILOT  
  
Well?! What's happening out there?!  
  
CO-PILOTS II & III  
  
Just fly the plane!  
  
CO-PILOT I  
  
We're losing altitude!  
  
CO-PILOT II  
  
Pressure's fluctuating!  
  
CO-PILOT III  
  
We have breaches on the wings!  
  
PILOT  
  
Breaches? How the…  
  
CO-PILOT III  
  
Trust me!  
  
The pilot does so.  
  
PILOT  
  
Get on the radio! We have to make an emergency landing!  
  
CO-PILOT I  
  
Mayday, mayday, Metropolis Tower, this is Air Force One…  
  
PILOT  
  
Lowering landing gear!  
  
EXT. METROPOLIS - NIGHT  
  
The landing gear kicks out from the underbelly of the plane as it careens back to a level, coordinated, descent. It doesn't take long for the demons to spot them, though, and the lead demon flies straight for the forward tires. Letting out a scream, it punches through the forward landing gear, sending the massive tires and support beams hurtling down toward the city below.  
  
Clark comes to a stop outside the newly renamed LexCorp building as Air Force One's forward landing assembly crashes through the front face of the building, raining glass and metal shards down on the street below. His eyes widen as he observes a woman crossing in front of the building just as a particularly large chunk of debris dislodges from the face of the building.  
  
WOMAN  
  
::screams:: Help!  
  
She tries to run, but her right high-heel breaks. Mid-fall, Clark catches her in his arms and runs her safely across the street, sitting her on a bus stop bench before darting off down the street at near light speed.  
  
The poor woman, utterly traumatized, faints on the bench.  
  
INT. METROPOLIS INTERNATIONAL CONTROL TOWER  
  
The control tower buzzes with activity as airline employees and military personnel haphazardly race to and from various computer terminals.  
  
GENERAL LESTER  
  
What's happening?! Why can't we raise them on radio?!  
  
OPERATOR  
  
I don't know, General.  
  
OPERATOR II  
  
They're off course. They're coming in too high.  
  
GENERAL LESTER  
  
My God, that's the President up there! Do something!  
  
OPERATOR  
  
There's nothing I can do, General! There's nothing anyone can do, now…  
  
The operator looks up at the sky, down the runway, in the direction of the oncoming Air Force One.  
  
OPERATOR  
  
…except pray.  
  
General Lester grits his teeth, feeling utterly helpless.  
  
INT. AIR FORCE ONE COCKPIT  
  
Everyone inside the Air Force One cockpit sweats with fear, but the Co-Pilot seems particularly concerned with a flashing red light on the panel in front of him. It reads, "Forward Landing Gear".  
  
CO-PILOT  
  
We have a landing gear malfunction.  
  
PILOT  
  
What?!  
  
CO-PILOT  
  
Something's wrong with the forward landing gear! We have to pull up!  
  
PILOT  
  
Like hell! She's barely holding together. We bring her in now. We bring her in hot, or we don't bring her in at all!  
  
EXT. METROPOLIS INTERNATIONAL – NIGHT  
  
Sirens ring out into the Metropolis night air, joining with the rolling thunder to create an eerie anthem of distress as Air Force One descends towards the fully lit runway missing its forward landing gear.  
  
Breathing heavily, pushing himself to the limit to run ahead of the plane, Clark Kent pulls up at the end of the runway, staring up at the plane heading straight towards him in the distance. Standing tall, he takes a breath, looking around him as emergency vehicles approach the runway from all sides, preparing for the worst.  
  
Closing his eyes, he takes a long deep breath before looking back up at the plane. Right foot first, he starts running towards it down the runway, first at normal speed, but quickly gaining moving faster and faster. Just as he passes the last set of runway lights, he jumps, hurling his body into the air.  
  
As Air Force One barrels towards Metropolis International Airport, bleeding sparks and fumes from where its landing gear was torn away, the parademons disperse, leaving it to its fate.  
  
Clark's leap started out almost completely uncontrolled, his arms and legs flailing aimlessly, but somehow it becomes much more steadied as he heads straight for the plane, as if he is willing himself toward it. At breakneck speeds, the plane and Clark head towards each other on a collision course when…  
  
INT. AIR FORCE ONE COCKPIT  
  
The entire cockpit lurches forward, the pilot banging his head against the back of his chair in the process.  
  
PILOT  
  
What was that?!  
  
CO-PILOT I  
  
We hit something?!  
  
EXT. METROPOLIS INTERNATIONAL – NIGHT  
  
Beneath the underbelly of the plane, the two sets of rear landing gear prepare for the plane's touch down. At the forward, Clark holds on to what's left of the forward landing gear support frame, his legs towards the ground.  
  
INT. METROPOLIS INTERNATIONAL CONTROL TOWER  
  
General Lester, along with everyone else in the tower, look on anxiously as Air Force One prepares to touch down at the very end of the runway.  
  
EXT. METROPOLIS INTERNATIONAL – NIGHT  
  
The back landing gear touches down on the runway, screeching against the hard pavement. Next comes the nose of the plane…  
  
Sheer intensity and determination boiling inside of him, Clark starts moving his legs as his feet hit the runway. Acting as the planes forward landing gear, Clark runs with the forward section of Air Force One on his shoulders, desperately trying to keep the nose up.  
  
The strain is incredible, an entire jetliner and the lives of everyone inside on his shoulders. Slowly, Clark works with the rear brakes to slow Air Force One to a gradual stop before it barrels its way clear off the end of the runway.  
  
INT. METROPOLIS INTERNATIONAL CONTROL TOWER  
  
The tower erupts in cheers and General Lester can breathe a momentary sigh of relief, Air Force One safely touched down at the far end of its runway. He quickly heads for the door.  
  
EXT. METROPOLIS INTERNATIONAL - NIGHT  
  
A flash of lightning…  
  
Clark looks up barely in time to see Colonel Kalib's elbow heading straight for his face. The forward nose of Air Force comes crashing down to the pavement below as Clark is sent hurtling a hundred feet backwards, bouncing several times off the ground before skidding to a painful stop.  
  
A weary Clark picks himself up off the ground, only to be greeted by a swift uppercut to the jaw from Kalib, which again hurls him into the air, his poor aching body falling like deadweight to the ground below, cracking the concrete.  
  
COLONEL KALIB  
  
You are a pathetic weakling! How dare you stand up to challenge Darkseid!  
  
Kalib walks confidently over to Clark. Lifting his fist over his head, he moves to drive it down onto Clark's head, but Clark reaches his own hand up and catches Kalib's fist in the air. Nostrils flaring, eyes ablaze, Clark balls up his other fist and releases his rage on the much larger Kalib.  
  
COLONEL KALIB  
  
Ah!  
  
Kalib's body bounces, rolling end over end down the runway before sliding to an aggressive halt several yards away. Remarkable, as Clark stands and prepares for another assault, Kalib merely looks up at him from the ground and smiles.  
  
Clark soon knows why. Turning around, but making sure not to leave his back exposes, Clark looks up into the night sky to see hundreds, if not thousands, of parademons flying towards Metropolis.  
  
COLONEL KALIB  
  
Now, you see! You can't win! You will rule nothing! This planet belongs to Darkseid!  
  
A shot rings out… but not one from any normal gun.  
  
From down the Metropolis city streets, United States Army troop vehicles, tanks, and turret trucks emerge to greet the invading parademon forces, equipped with LexCorp special rifles.  
  
Somewhere, a uniformed soldier cries out…  
  
SOLDIER  
  
Fire!  
  
The tanks, turret guns, and soldiers let loose a vicious barrage of weapons fire directly into the heart of the parademon flock. Crying out horrendous screams, demon after demon falls prey to the rifles powerful electrical blasts.  
  
Two soldiers on the back of a troop transport gather up a rocket launcher and one of the mysterious devices Lionel Luthor was manufacturing at his private airline before Clark decimated it. What looks similar to a small plane engine is, in fact, a rocket projectile which one soldier loads into the other's launcher. As the parademons dive bomb toward the troops below for a counterattack, the soldier fires the rocket, along with several other soldiers firing similar devices from each of the other transport vehicles.   
  
Like Fourth of July fireworks, the rockets leave streams of blue flame behind them, burning the very air. The parademons try desperately to avoid them, flying every which way, but the rockets change course with them, chasing them down before exploding magnificently in bright blue fireballs, raining smoke, fire, and demons onto the ground below.  
  
Colonel Kalib looks on the scene with a mixture of horror and disgust. Clark turns back around to face him with a newly inspired confidence.  
  
CLARK  
  
Looks like you've got a fight on your hands.  
  
DARKSEID  
  
Insignificant.  
  
A white light explodes out of nowhere to Clark's left, and out of a searing bright portal steps Darkseid, no longer bothering with his human guise of General Drake. He keeps his hands locked behind his back, showing Clark how much of a threat he considers him.  
  
DARKSEID  
  
Just like this world. Just like you.  
  
CLARK  
  
Darkseid! Murderer!  
  
Clark clenches his fists and runs straight for Darkseid. Not even bothering to lift up his hands to defend himself, Darkseid merely looks at Clark, sending out two blistering hot streams of flame from his eyes that tear into Clark's chest and slam him to the ground.  
  
DARKSEID  
  
Poor boy. You didn't actually believe in the prophecy, did you? You didn't actually think you could beat me?  
  
Kalib laughs, brushing some blood from his jaw with his fist, taking up position next to his father.  
  
DARKSEID  
  
How little you understand of the universe.  
  
Clark tries to stand, but Darkseid hits him again with two quick concentrated flame bursts from his eyes that slam Clark backwards and back to the ground.  
  
DARKSEID  
  
You are nothing to me. Krypton was nothing to me. This planet Earth, this speck of dust is nothing to me.  
  
Again Clark struggles to stand and again Darkseid humbles him to the ground with shots from his eyes.  
  
DARKSEID  
  
I will crush you and I will crush any world you run too.  
  
CLARK  
  
If I am nothing to you… why do you care so much about me?  
  
DARKSEID  
  
Not about you, about what you know. Inside your mind lies the secret to the anti-life equation, the key to unlocking the mystery of creation itself.  
  
CLARK  
  
Creation?! You wreak destruction wherever you go!  
  
DARKSEID  
  
This universe should be destroyed. It deserves to be destroyed. It is plagued, festered, by chaos and turmoil. With the secret of the anti-life equation at my disposal, I will wipe the slate clean, and start anew. I will create a virgin universe, my universe, where the supreme law of order will reign.  
  
CLARK  
  
You want to be a God.  
  
DARKSEID  
  
As far as you're concerned… I am God.  
  
A fourth time, Darkseid attacks Clark with flame bursts from his eyes, this time, though, they are a thousand times more intense. Clark cries out in agony as he is knocked several feet back and driven into a smoking crater into the ground.  
  
DARKSEID  
  
Your father thought he could send you here, because here you would be safe. Here you would have powers beyond that of a normal man, but in the end you are still weak. There is nowhere in the universe where you are safe from me. I am Darkseid… and whether Kryptonian or Human, you are no match for me… boy.  
  
Getting to his knees, his back to Darkseid, Clark stares up at the city skyline as a bolt of lightning crashes down in the distance. Smoke billows up from around him, his black suit badly burned, his tie now a smoldering stub around his neck, from Darkseid's powerful blasts. Yet, as beaten and tired as he is, Clark finds inspiration in the night…  
  
JONATHAN (voice)  
  
Sometimes all a man can do in this world is to try and be the best man that he can be. Sometimes that man will fail, or give up, but he'll fight back. He'll rise up, he'll learn from his mistakes, and he'll come back stronger than ever. That's your job now.  
  
LANA (voice)  
  
The old shall pass away. He sheds his skin and a new man will be born, the path ended, a new beginning. It is the time of ascension.  
  
Darkseid and Kalib look triumphantly on Clark, who continues to sit on his knees with his back to them, staring straight ahead into the night.  
  
CLARK  
  
There's just one problem, Darkseid. You're not fighting Kal-El of Krypton… and you're not fighting Clark Kent of Earth… You're fighting me…  
  
Clark lifts his hands up to the center of his shirt and tears it open to reveal a red and gold "S" symbol surrounded by a sea of blue…  
  
All at once, Clark stands and spins into the air, his black suit falling away like shed skin. Darkseid and Kalib look up at him, hovering in mid-air, his arms crossed in front of his chest, a bright red cape flapping majestically in the wind behind him.  
  
CLARK  
  
… And my name… is Superman.  
  
Kalib takes a single step back, looking to his father for strength.  
  
Grinding his teeth, Darkseid finally raises his fist, cracking his knuckles. Staring angrily up at Superman, his eyes erupt in flame. Opening his iron jaw, he screams and charges down the runway toward him, fist drawn.  
  
Turning in the air, Clark unravels his arms and pushes his fists out in front of him, flying through the air towards Darkseid. As Darkseid approaches, Superman clenches his fist tight, brings it back, and punches forward…  
  
- The End - 


End file.
